赫美奥拉节奏是一种改变韵律的节奏，它广泛出现于不同时期的音乐作品中。巴赫、莫扎特、勃拉姆斯作为三位不同时期的作曲家，都在自己的音乐作品中大量使用了赫美奥拉节奏。不同时期的风格有别，作曲家个人使用赫美奥拉节奏的习惯有别，使得不同时期的赫美奥拉节奏具有不同的特点，产生不同的音乐效果。巴赫作为巴洛克时期的代表，他的赫美奥拉节奏经常用于结尾或句尾拉宽乐句来营造结束感，或是改变舞蹈性音乐片段的韵律；莫扎特作为古典主义时期的代表，沿袭了巴赫在结尾或句尾使用赫美奥拉节奏的方法，同时也对赫美奥拉节奏的使用进行了创新，最显著的创新就是大量用于具有连接效果的乐句；勃拉姆斯作为浪漫主义的代表，则更大量的使用赫美奥拉节奏，将其功能发挥地更加多样。通过对三位作曲家部分钢琴作品中带有赫美奥拉节奏的谱例的分析，来展现三位作曲家使用赫美奥拉节奏的特点，以及与时期风格息息相关的赫美奥拉节奏的不同作用。

Hemiola rhythm is a rhythm that can change, which is reflected in music works in different periods. Bach, Mozart and Brahms used a large number of hmeola rhythm in their own music works as composers in different periods. However, due to the different styles and habits of these composers, the using of Hemiola rhythm can have different effects. As a representative of the baroque period, Bach often used this kind of rhythm at the end of a section to widen the phrase to create a sense of closure, or to change the rhythm of a danceable music segment. As a representative of the classical period, Mozart followed Bach's method of using this rhythm to create a sence of closure. Besides, he innovated the use of the rhythm. Brahms, as the representative of romanticism, used the rhythm more extensively and played its functions in a more diversified way. Through analyzing a large number of music scores with Hemiola rhythm in the works of three composers' music, this paper summarizes the development of this kind of rhythm and reflects the differences of Hemiola rhythm in different periods.