What is Hemiola? Understanding Off-Beat Music

[@cynthiacampbell7277]

I just ran across a reference to hemiola today when reading about the Tempest sonata. This demonstration was very timely and helpful, thank you!

[@asa_ames]

Super bizarre coincidence - I literally started learning this piece at my lesson last week. I was very confused by this little section while practicing. Took me longer than I expected to get the timing right. Glad to know I’m not crazy for being thrown off by it!

[@bobwhit1544]

Isn't this really polymeter and not heniola?

[@Shooshie128]

I got hemiola one time, and the doctor just said I need to lay off the Skryabin.

[@parkerchace]

Ahhhahaha😂

[@MCMeru]

I was really irritated by the thumbnail. You put a red circle around measures that have nothing to do with a hemiola 😅

[@LivingPianosVideos]

You're right - very perceptive! We will be changing the slide.

[@thomasmartin8362]

That Chickering sounds quite nice for its size.

[@brendaboykin3281]

Thanx, Maestro 🌹🌹🌹🌹

[@VetsrisAuguste]

I should have known there was a proper term for this. I have been involved in several discussions professionally where I needed, but lacked, the vocabulary to describe this very thing. There’s a particular segment of The Garland Waltz from Tchaikovsky’s ‘The Sleeping Beauty’ which is notoriously difficult for dancers to count. It is because of hemiola! This is usually only a temporary problem for professionals, who are given ample rehearsal time to study the phrase. however, occasionally the accompanists in ballet class, who are given freedom of choice when selecting what music to play, will occasionally select that particular tune, not realizing how disorienting it will be for students who have not been prepared for it. While the Garland Waltz is a wonderfully danceable piece of music, because the build up to the cadence uses hemiola, it requires very strong counting skills and absolute confidence in the execution; making it a problematic choice when selected at random. Now that I know this musical term, I will be better prepared to take advantage of a teachable moment in my ballet classes.

[@ironhead23]

I’m working on Czerny Op. 599 No 30. Is this the same thing in the first 6 measures? Struggling a bit with that rhythm. Thanks!

[@VetsrisAuguste]

If you are talking about this rhythm: ¾♩♩♬♬❘♩♩♬♬❘♩♩♩❘… I don’t think this is an example of what he’s talking about. I think the difficulty you are experiencing has more to do with which hand is doubling the rhythm of the other. In the first two beats, the left hand is subdividing the quarter notes of the right hand, while on the 3rd beat the sixteenth notes in the right hand subdivide the continuous eighth notes of the left. Essentially, your right hand has to switch back and forth between “half time” & “double time” relative to the eighth notes in the left hand. It’s most likely more of a coordination issue than a rhythm issue.

[@ironhead23]

@@VetsrisAuguste good to know. Thanks

[@JamesUnityFuchs]

Sorry but it’s not the best example of hemiola. It’s felt and written in a few different ways first there are vertical and horizontal hemiola. But the best conceptual grasp of hemiola, is 3:2 poly rhythms or take a look at bernstein “America” 123456-123 that’s were you have 6/8 but felt in a slow 2/4 that’s one part of hemiola and if you keep counting through the 3/4 you have 2/4 over 3/4 which is permutation of the rhythm ( which in fairness is what you were trying to get at) I love hemiola and it is all over the place from Bach to Beethoven and even Mozart. Listen to “lacrymosa “ from mozarts requiem. Really fantastic example and a new found freedom once you lock into the essence of hemiola.

[@Doug_Seidlitz]

This must have been a bear to play the first time.

[@classicalroach]

Sounds like a blood disorder

[@AtomizedSound]

But in a good way