Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to explain how to play 3 against 4 rhythms. Have you ever tried to play three against four rhythms? You have a triplet in one hand and four 16th notes in the other hand. How can you possibly play those two rhythms? Some teachers just say to play the four with one hand, and play the three with the other hand, and then put them together. Well, what if that doesn’t work? What can you possibly do? By the end of this, you’re going to be able to play three against four!
First, I’m going to explain the mathematical relationship so you understand what is happening when you play 3 against 4.
Let’s simplify things for a moment and start with 3 against 2. 3 against 2 is not all that hard because it has basically six divisions. Two goes into six three times, and three goes into six two times. So your hands play together, right, left, right, left if the left hand is playing the triplet and the right hand is playing two notes. And indeed, that produces the correct rhythm.
So the question is, can’t you do the same thing with 3 against 4? Technically, you can. But I’ll explain the problem with that in just a minute. You could figure out the mathematical relationship of 3 against 4 by counting to 12. Because, after all, three goes into twelve four times, and four goes into twelve three times. Mathematically, that works.
But the problem with that is getting it up to speed. Suppose you’re playing something like Debussy’s The Snow is Dancing from Children’s Corner Suite. At the fast tempo that goes, how could you possibly ever count that fast? You couldn’t. It’s impossible. A 3 against 4 is usually going to be at a faster tempo than you can count in this manner.
So here is the method for playing 3 against 4.
First, I’m going to show you how to rough it out where it’s not correct, but it is close to what three against four is. Basically, the rough version (which is not rhythmically even) is to play your hands together, left, right, left, right, left. If you just listen to the three, you’ll hear that the rhythm is distorted. It’s not quite right. So why am I telling you to do this if it’s wrong? Because you can at least start to understand which notes play first in each hand. Then you can adjust the rhythm to make it correct. And I’ll show you exactly how to do that. It’s the third triplet that has to come in later, so the last one in the right hand is going to come in later (if the triplet is in your right hand). The problem is, if you do that, the whole thing bogs down. So the last note in the right hand has to come in later, and then the last note in the left hand comes in right after that, much sooner than you might think.
To check if you’re doing it correctly, tap one hand on the top of the piano and play the other hand on the piano so you can hear clearly.
This is incredibly valuable. For example, with 3 against 2, the 3 is easy. So you tap the 3 on the top of the piano (or in your lap) while you play the 2 on the piano so you can hear the 2 clearly. When you play 3 against 2, you’ll be tempted to accent the second note of the 2. But that is not the way rhythm generally works. Usually, the first notes on the beat are louder or have more rhythmic emphasis than the off-beats in a group of two notes (unless it’s a syncopated rhythm). So you want to purposely underplay the second note of the tuplet (the two). You can do the same thing with your music. By playing one hand on top of the piano, you can hear what the other hand is doing. Because when you play the hands together, it can be all but impossible to identify the distortion of the rhythm. But when you play one hand silently in your lap or on top of the piano, you can clearly hear the evenness of the slower note on the piano (the two in 3 against 2, or the three in 4 against 3).
This is a hack that really works!
So remember, when you play 4 against 3, the third note of the triplet is going to be later than you think it is. And then the fourth note in the other hand is going to be right after the late triplet. That is the secret to playing 3 against 4! That’s the lesson for today. Try it out! If you’ve ever struggled playing 4 against 3, see if this helps. Let me know how it works for you in the comments here at LivingPianos.com and on YouTube! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.
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7 thoughts on “How to Play 3 Against 4 Rhythms”
2/3: TRLR “How do you do?”
3/4: TLRLRL “How do you do today?”
For those out there who have no idea what this comment is about, these phrases somewhat reflect the sound of 3 against 2 and 4 against 3!
When I run into this situation, and most likely it will be more notes with the right hand and less with the left one, I arm myself with a pencil, and draw a vertical line for every 4 notes of the right hand down to where it falls on or between the notes of the left hand! I seems to work for me. A horrendous example is in the second movement of Hummel’s Piano Concerto No. 3, with 19 notes on the right hand and 4 on the left. I practice very slowly until I get it right.
That’s particularly useful when you have extremely odd divisions of the beat like in cadenzas in Chopin and Liszt: https://livingpianos.com/how-to-play-unmeasured-cadenzas-chopin-liszt/
What gets me is the umpteen against what in the beginning of the first movement of Rachmaninoff’s Second piano concerto.
Just figure out the closest mathematical possibility and draw lines where the notes go. Sometimes you are best off dividing into even number of notes even if the rhythm isn’t perfect just so you can play it. Then when you get comfortable, you can nuance the rhythm to be accurate.
That sounds good. Thank you!