An abstract, visually striking digital artwork representing polyrhythms in music.

How to Play Polyrhythms

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Polyrhythms are an essential part of advanced rhythm training, appearing in many musical traditions from African drumming to jazz improvisation and progressive rock. Learning to play two conflicting rhythms at the same time is both a mental and physical challenge, requiring deep internalization of rhythm and coordination. This guide will explore two main strategies for understanding polyrhythms, and seven different ways to practice them. We will break down each method step by step, as if you were learning it directly in a one-on-one lesson.

Part 1: Two Strategies for Deriving Polyrhythms

A polyrhythm is represented as N:B, meaning that N notes are played evenly over B beats. The two strategies below can be used interchangeably to internalize polyrhythms. We will use 5:4 (five notes over four beats) as our example.

Strategy One: Subdivide B Beats into N Parts

This approach involves dividing the beats into N equal subdivisions, then grouping them back into the original B beats while listening to the composite rhythm.

Step-by-Step Method for Deducing Any Polyrhythm

  1. Choose a polyrhythm N:B. Identify the number of notes (N) and the number of beats (B). For example, in 5:4, we play 5 evenly spaced notes over 4 beats.
  2. Subdivide the beats into N equal parts. Instead of feeling 4 quarter notes, you divide the 4 beats into 5 equal parts.
  3. Count through the subdivision and accent every Bth note.
  4. Listen to how the two layers interact. You should be able to hear both rhythms simultaneously, noticing where they align and where they diverge.
  5. Clap or tap both rhythms separately before trying to play them together.

Example for 5:4

  • Divide 4 beats into 5 subdivisions each: 
    1  2  3  4  5  2  2  3  4  5  3  2  3  4  5  4  2  3  4  5
  • Accent every 4th subdivision (bolded): 
    1  2  3  4  5  2  2  3  4  5  3  2  3  4  5  4  2  3  4  5
  • This produces the composite rhythm of 5 evenly spaced notes over 4 beats.
     1  2  3  4  5  2  2  3  4  5  3  2  3  4  5  4  2  3  4  5

Strategy Two: Use the Lowest Common Multiple (M)

  1. Multiply N and B to get M.
  2. Create a bar with M subdivisions.
  3. Group the M subdivisions into B parts and play that pulse.
  4. Group the same M subdivisions into N parts and play that pulse.
  5. Listen to how the two pulses interact.
  6. First, tap each pulse separately, then try them together.

Example for 5:4

  • The lowest common multiple for 5 and 4 is 20.  Here are 20 subdivisions (one cycle of 5:4 polyrhythm):
1  2  3  4  5  6  7  8  9 10 11 12 13 14 15 16 17 18 19 20
  • 4-beat pulse (every 5th subdivision): 1, 6, 11, 16
1  2  3  4  5  6  7  8  9 10 11 12 13 14 15 16 17 18 19 20
  • 5-note pulse (every 4th subdivision): 1, 5, 9, 13, 17
1  2  3  4  5  6  7  8  9 10 11 12 13 14 15 16 17 18 19 20

By working through these strategies patiently, you will begin to hear and feel how the two rhythms interact.

Part 2: Seven Ways to Practice Any Given Polyrhythm

Each of these methods offers a structured way to develop your polyrhythmic coordination.

1: One-Hand Isolation Method

  • Tap one hand in cycles of M.
  • The other hand taps groups of B for N times, then groups of N for B times.
  • Start slow and focus on precision before increasing speed.

Example for 5:4

For the 5:4 polyrhythm, the lowest common multiple (LCM) is 20, meaning we will cycle through 20 subdivisions where both rhythms align at the beginning of each cycle.

  1. Tap one hand in cycles of 20 subdivisions.
    • This means continuously tapping a steady pulse, counting 1 to 20 and looping.
  2. With the other hand, tap in groups of 4 (for 5 cycles).
    • Every 5th tap of this hand lands with the steady pulse.
    • Taps occur on beats 1, 6, 11, 16 in the 20-subdivision cycle.
  3. Switch hands and tap in groups of 5 (for 4 cycles).
    • Every 4th tap of this hand lands with the steady pulse.
    • Taps occur on beats 1, 5, 9, 13, 17 in the 20-subdivision cycle.
  4. Listen to how both hands interact and create the polyrhythm.
    • The left hand outlines the 4-beat pulse, while the right hand outlines the 5-note polyrhythm.

This method helps internalize how two rhythms interact against each other before trying to play them simultaneously.

  • Tap one hand in cycles of M.
  • The other hand taps groups of B for N times, then groups of N for B times.
  • Start slow and focus on precision before increasing speed.

2: Alternating Hands in Cycles of M

  • Alternate tapping left and right hands in cycles of M.
  • If M is odd, the leading hand switches every bar.
  • Accent B-grouped notes first, then N-grouped notes.
  • Try alternating hands slowly before speeding up.

Example for 5:4

For the 5:4 polyrhythm, the lowest common multiple (LCM) is 20, meaning we will cycle through 20 subdivisions before repeating.

  1. Tap alternating hands in a steady cycle of 20 subdivisions.
    • Right hand taps odd-numbered beats (1, 3, 5, etc.).
    • Left hand taps even-numbered beats (2, 4, 6, etc.).
  2. Group the beats into 4-beat pulses first (B-group).
    • Accent the 4-beat cycle accents at 1, 6, 11, 16 while alternating hands.
  3. Next, group into 5 evenly spaced notes (N-group).
    • Accent the 5-beat cycle accents at 1, 5, 9, 13, 17 while alternating hands.
  4. Observe how the accents shift hands in odd/even cycles.
    • Since M = 20 is even, the leading hand stays the same.
    • If M were odd, the lead hand would switch every bar.
  5. Slowly increase speed once coordination is established.
    • This builds independence between the two rhythmic layers.

Practicing this method allows both hands to develop equal rhythmic control while reinforcing the polyrhythmic feel between the two groupings.

  • Alternate tapping left and right hands in cycles of M.
  • If M is odd, the leading hand switches every bar.
  • Accent B-grouped notes first, then N-grouped notes.

3: Foot Pulse + Clapping Groups

  • Tap first beat of M with the foot while imagining other subdivisions.
  • Clap in groups of B, N times, then groups of N, B times.
  • This helps develop an internal pulse foundation.

Example for 5:4

For the 5:4 polyrhythm, the lowest common multiple (LCM) is 20, meaning we cycle through 20 subdivisions per full pattern.

  1. Tap your foot on the first beat of each 20-count cycle.
    • This reinforces the main pulse and provides a steady reference.
  2. Clap in groups of 4 beats for 5 cycles (B-grouping).
    • Claps occur on beats 1, 6, 11, and 16 within the 20-beat cycle.
  3. Switch to clapping in groups of 5 notes for 4 cycles (N-grouping).
    • Claps occur on beats 1, 5, 9, 13, and 17 in the cycle.
  4. Observe how the claps align differently with the foot tap.
    • The 4-group claps fit evenly within the beat framework.
    • The 5-group claps shift over the cycle, creating the polyrhythm.
  5. Practice feeling both subdivisions mentally while maintaining the foot pulse
    • Internalizing the contrast between 4-pulse accents and 5-pulse accents enhances polyrhythmic awareness.

This exercise strengthens internal rhythmic perception, ensuring that both pulses are clearly felt while maintaining a steady foot-tap reference.

  • Tap first beat of M with the foot while imagining other subdivisions.
  • Clap in groups of B, N times, then groups of N, B times.

4: Foot Pulse + Hand Layering

  • Tap first beat of M with foot.
  • Right hand plays N-group accents, left hand plays B-group accents.
  • This method separates the two pulses, making them clearer.
  • Try alternating hands and feet to build independence.

Example for 5:4

For the 5:4 polyrhythm, the lowest common multiple (LCM) is 20, meaning we cycle through 20 subdivisions before repeating.

  1. Tap your foot on the first beat of each 20-count cycle.
    • This reinforces the primary pulse and establishes a steady reference.
  2. Right hand plays accents in groups of 5 (N-grouping).
    • Right hand taps on beats 1, 5, 9, 13, and 17 within the 20-beat cycle.
  3. Left hand plays accents in groups of 4 (B-grouping).
    • Left hand taps on beats 1, 6, 11, and 16 within the cycle.
  4. Observe how the right and left hand interact over the foot pulse.
    • The 5-group accents cycle through the beats differently than the 4-group accents, creating the polyrhythm.
  5. Try alternating hands and feet while keeping the foot steady.
    • This strengthens the ability to feel both rhythmic layers independently.
  6. Increase speed gradually while maintaining accuracy.
    • Start slow and focus on rhythmic clarity before accelerating.

This method provides a clear physical separation of the polyrhythmic layers, allowing each limb to reinforce a different rhythmic structure. It is a powerful way to internalize complex rhythms before applying them to an instrument.

 

5: Writing Subdivisions with Accents

  • Write out B beats with N subdivisions per beat.
  • Write out N beats with B subdivisions per beat.
  • Compare the two pulses.

Example for 5:4

illustration of how 5 beats align over 4 beats of the same duration for a 5:4 polyrhythm

By seeing polyrhythms visually such as this, you will develop a deeper understanding of polyrhythms and how to practice them effectively.

6. Find a Phrase That Mimics the Sound of the Composite Rhythm

One of the most effective ways to internalize a polyrhythm is to associate it with a spoken phrase that naturally fits the rhythm. These mnemonic devices help bridge the gap between abstract rhythmic concepts and intuitive execution. Below are some examples of phrases that align with different polyrhythms:

  • 2:3 Polyrhythm – “Hot cup of tea”
    • The 2-beat layer: “Hot” and “Of”
    • The 3-beat layer: “Hot Cup Tea”

illustration of 2:3 polyrhtym with an english phrase

In this example, the words “Hot” and “Of” land on the two-beat cycle, while “Hot Cup Tea” aligns with the three-beat cycle.

  • 3:4 Polyrhythm – “Pass the milk and butter”
    • The 3-beat layer: “Pass,” “Milk,” and “But”
    • The 4-beat layer: “Pass The And -er”

illustration of 3:4 polyrhtym with an english phrase

Here, the three-beat rhythm lands on “Pass,” “Milk,” and “But,” while the four-beat rhythm aligns with “Pass The And -er,” maintaining both patterns simultaneously.

 

  • 4:5 Polyrhythm – “Find a house that I can live in”
    • The 4-beat layer: “Find,” “House,” “I,” “Live”
    • The 5-beat layer: “Find A That Can In”

illustration of 5:4 polyrhtym with an english phrase

The phrase splits naturally, where the strong syllables of “Find,” “House,” “I,” and “Live” match the four-beat pattern, while “Find A That Can In” evenly distributes across the five-beat cycle.

 

  • 5:7 Polyrhythm – “Pass the Salt and Pepper the Food is Tasteless”
    • The 7-beat layer: “Pass,” “The,” “And,” “Per,” “The,” “Is,” “Less”
    • The 5-beat layer: “Pass,” “Salt,” “Pep,” “Food,” “Taste”

     

illustration of 5:7 polyrhtym with an english phrase

This phrase demonstrates how the seven-beat rhythm can run alongside the five-beat rhythm, with each pattern maintaining its integrity while locking into the overall groove.

 

To visually represent these relationships against a rhythmic grid, I will illustrate them using the first letter of each word in an image. This approach will provide a clear reference for how the syllables align within the composite rhythm.

7. Use Konnakol Syllables

Konnakol is the South Indian system of vocalizing rhythms, and it is an excellent way to internalize polyrhythms. By speaking rhythmic syllables, musicians can develop a stronger rhythmic sense and execute polyrhythms with greater ease.

Step-by-Step Guide to Using Konnakol for Polyrhythms

  1. Assign syllables to each subdivision
    • In Konnakol, different syllables represent different subdivisions. For example:
      • “Taka” represents a group of 2 beats
      • “Takida” represents a group of 3 beats
      • “Takadimi” represents a group of 4 beats
      • “Tadigenaka” represents a group of 5 beats, etc.
  2. Speak the polyrhythm before playing it
    • Using 5:4 as an example, we can vocalize the 4 beats with 5 subdivisions each as:  TadigenakaTadigenakaTadigenakaTadigenaka
    • vocalize the 5 beats with 4 subdivisions each as: TakadimiTakadimiTakadimiTakadimiTakadimi
    • vocalize the composite rhythm as: Ta——kaTa—-na–Ta–ge—-Tadi—– where the Ta’s are the 4 and the other syllables (plus the initial Ta) is the 5.

Why Konnakol is Effective

  • It connects rhythm to speech, making it easier to grasp complex patterns.
  • It helps musicians hear subdivisions clearly before playing them.
  • It enhances rhythmic coordination and execution.

By incorporating Konnakol into polyrhythm practice, musicians can refine their rhythmic accuracy and develop a deeper internal sense of groove.

By following these expanded steps and explanations, you will develop a deeper understanding of polyrhythms and how to practice them effectively.  For more, see my in-depth polyrhythms video.

 

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