Set the beats per bar, then choose how many cross-pulses to spread evenly across the same bar. The two voices start together on every downbeat, so you can hear and feel 3 against 4, 5 against 4 and beyond.
| Ratio | Where you hear it |
|---|---|
| 3:2 | Hemiola in Baroque and Latin music; the most common cross-rhythm in Western music. |
| 3:4 | West African and Afro-Cuban drumming; the classic three-over-four feel. |
| 5:4 | Progressive rock and modern jazz; five even notes floating over a 4/4 groove. |
| 7:4 | Balkan folk metres and progressive metal; strongly asymmetric. |
A polyrhythm is two pulses of different speeds running at once inside the same bar - for example three even notes against four. The two lines coincide only on the downbeat, and everything between them is deliberately offset, which is what makes the pattern feel like it is floating against the beat.
Practise one side at a time: play along with the main beat until it is steady, then switch your attention to the cross-pulse without changing the tempo. Slow tempos help far more than fast ones here - start around 50-60 BPM, and speed up only once you can move your attention between the two voices without losing either.
A polyrhythm is two or more rhythms with different pulse counts played at the same time over the same span, such as three evenly spaced notes against four. They line up only at the start of the cycle.
A polyrhythm divides the same bar into two different pulse counts, so both parts share a downbeat. A polymetre uses different bar lengths at the same pulse, so the parts drift apart and realign only after several bars.
Count twelve fast units per bar: the four-side falls on 1, 4, 7 and 10, and the three-side on 1, 5 and 9. Set the metronome to 4 beats per bar with a cross-rhythm of 3 and listen for that pattern before trying to play it.