In ‘Cantate Domino’, Pitoni makes effective use of hemiolas (hemiolae…?) – as do many other composers across the choral repertoire. This week’s Social DistanceSING looks at the rhythmic device, starting with an explanation of core musical concepts that often get blurred together in order to explore how, where and why composers use hemiolas, and how we as singers respond to them.

A hat-tip to Daniel Cook, Organist and Master of the Choristers at Durham Cathedral, whose idea about the opening of the piece I mention in this video. Daniel’s been uploading a daily virtual organ voluntary since the start of lockdown – you can find his videos here.

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