August 12, 2024

Winning the War of the Rhythms: How to Master 2 Against 3 - PHH 169

36 minutes

Juggling. Patting your head and rubbing your tummy. Walking and chewing gum.

Coordination challenges come in all levels of difficulty. Playing hands together is another one, but it’s one that we harpists eventually get comfortable with. Your right hand does one thing and your left hand does another. For the most part, everything works out, until we encounter polyrhythm, that is.

What’s polyrhythm? The technical definition of polyrhythm is one of those dictionary definitions that cause more confusion than it clears up. According to the New Harvard Dictionary of Music, polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. I warned you.

In terms that are probably more meaningful to you, 2 against 3 is an example of polyrhythm. In a general sense, it is two rhythms that don’t normally go together and that, as a consequence, present a rhythmic coordination problem when you try to play them. A group of two notes, as in two eighth notes, played with your right hand at the same time as your left hand plays an eighth note triplet is a very common example of what I’m talking about. And these rhythmic challenges crop up everywhere from the music of Mozart, Beethoven and Brahms to Chopin and Debussy to folk music.

So today, I’m going to help lower the difficulty factor of these rhythms for you. We’ll start with a perspective which may be a different one from the one you’re used to. Hint: it’s not all about the math. I’ll show you the best ways to practice them and how I think you shouldn’t practice them. If these rhythms always stop you in your tracks, we will try to clear the tracks and get you moving today.

Links to things I think you might be interested in that were mentioned in the podcast episode: