Editing Hemiola (section)

===Horizontal hemiola===
Peter Manuel, in the context of an analysis of the [[flamenco]] [[soleá]] song form, refers to the following figure as a ''horizontal hemiola'' or "sesquialtera" (which mistranslates as: "six that alters"). It is "a cliché of various Spanish and Latin American musics ... well established in Spain since the sixteenth century", a twelve-beat scheme with internal accents, consisting of a {{Time signature|6|8}} bar followed by one in {{Time signature|3|4}}, for a 3&nbsp;+ 3&nbsp;+ 2&nbsp;+ 2&nbsp;+ 2 pattern.<ref>Peter Manuel, "Flamenco in Focus: An Analysis of a Performance of Soleares", in ''Analytical Studies in World Music'', edited by [[Michael Tenzer]], 92–119 (Oxford and New York: Oxford University Press, 2006): 102.</ref>

[[File:Horizontal hemiola.png|thumb|center|400px|Horizontal hemiola[[File:Horizontal hemiola.mid]]]]

This figure is a common African [[bell pattern]], used by the [[Hausa people]] of [[Nigeria]], in [[Haitian Vodou drumming]], Cuban [[Palo (religion)|palo]], and many other drumming systems. The horizontal hemiola suggests [[metric modulation]] ({{Time signature|6|8}} changing to {{Time signature|3|4}}). This interpretational switch has been exploited, for example, by [[Leonard Bernstein]], in the song [[America (West Side Story song)|"America"]] from ''[[West Side Story]]'', as can be heard in the prominent motif (suggesting a duple beat scheme, followed by a triple beat scheme):
[[File:Alternating time signatures2.gif|thumb|center|400px|Horizontal hemiola in [[Leonard Bernstein|Bernstein's]], [[America (West Side Story song)|"America"]] from ''[[West Side Story]]''[[File:Alternating time signatures2.mid]]]]