The hemiola a consistent practice in English music of this time.

The figure is sometimes referred to as a horizontal hemiola.

The first cell (half measure) of the top line is a hemiola.

In the example below, the third and fourth bars constitute the hemiola.

Some musicians refer to the following figure as a horizontal hemiola.

The hemiola was a common practice to end minuets in French baroque music.

Hemiola is found in many Renaissance pieces in triple rhythm.

This rhythm has been called both a hemiola and a habanera, although it is not really either.

The hemiola abates somewhat when the main melody begins, but is present until the end of the movement.

The horizontal hemiola suggests metric modulation (3/4 changing to 6/8).

The "two" and "three" bars alternate, but they are not superposed, as in a hemiola.

Hemiola is used as a transitional technique (mm.

The composite melody is an embellishment of the 3:2 cross-rhythm (also known as a hemiola).

The second six-bar sub-phrase functions rhythmically as a giant hemiola.

The trio is much more relaxed and retains the triple meter feel throughout, with less hemiola interruption.

This setting exhibits liberal use of hemiola, the result of alternation between 3/4 and 6/8 meters.

Contemporary Chacarera music is distinguished by its unique hemiola syncopation.

In music, hemiola (also hemiolia) is the ratio 3:2.

A repeating vertical hemiola is known as polyrhythm, or more specifically, cross-rhythm.

"Afro Blue" was the first jazz standard built upon a typical African 3:2 cross-rhythm, or hemiola.

At the height of the crescendo, more hemiola in the brass and saxophones is used to heighten the harmonic interest.

The habanera rhythm is the duple-pulse correlative of the vertical hemiola (above).

In the following example, a gyil sounds the three-against-two cross-rhythm (hemiola).

These steps take advantage of the hemiola feel of the basse danse.

In rhythm, hemiola refers to three beats of equal value in the time normally occupied by two beats.