Hear two pulses at once and learn to feel them together. Set the beats for each layer, pick distinct sounds and follow the moving grid until the polyrhythm locks in.
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Hearing both layers trains your brain to keep them independent.
Drummers and pianists can tap each layer with a different hand.
The speed trainer nudges the tempo up so progress happens without guesswork.
A polyrhythm plays two even pulses over the same span of time. In 3:2, layer A divides the cycle into three equal beats while layer B divides it into two. Both start together on the first beat of each cycle, then drift apart and meet again at the next cycle.
The combined grid uses the least common multiple of the two numbers. For 3:2 that is six pulses: layer A lands on pulses 1, 3 and 5, and layer B on 1 and 4. Counting the grid slowly is the most reliable way to learn a new polyrhythm before relying on feel.
The most common polyrhythm, found from Baroque dances to Afro-Cuban music.
Four against three, a staple of jazz drumming and piano études.
Choose which layer the BPM applies to; the other layer adjusts to fit.
Three evenly spaced beats in one layer against two evenly spaced beats in the other, both lasting the same cycle.
It sets which layer the BPM refers to. At 90 BPM following layer A in 3:2, layer A plays 90 beats per minute and layer B plays 60.
Every four cycles it raises the tempo by 2 or 5 BPM, up to 300 BPM. Stop when the rhythm starts to fall apart and practice there.
Yes. Mute either layer to practice playing the other one against your own internal pulse.
A high click for layer A and a low click for layer B make it easy to tell the pulses apart by ear.
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