From this basis, I arrived at an elegant system of harmonic possibility that allowed me to compose music in an entirely new tuning system. I discovered rather than created this system, through a Bach-inspired process of “imaginative research,” infused with musical-theological connections in the spirit of Baroque metaphysics. For example, my use of the seventh partial mirrors and supports the subject matter of the Christmas/Nativity-themed text of the piece — according to Andreas Werckmeister, an organist and one of the main Baroque-era theorists of this system:
Though it can take some practice to learn how to play, vertical hemiola can spice up your music by forcing the listener to feel the beat in two time signatures at once. Additionally, hemiolas of this sort can act as a sort of syncopation, with one rhythm emphasizing the off-beats of the other. For both of these reasons, hemiola can be found in a variety of indigenous musical traditions, particularly in Africa and the Balkans.