What Are Polyrhythms?
When two rhythms collide on purpose.
A few years ago, I was writing with a producer in East Nashville who loved weird rhythms. He’d show up with a loop that sounded like two drummers arguing—one playing a steady four-on-the-floor, the other doing something that felt like tap dancing on a trampoline! I remember asking, “How is that even working?” He grinned and said, “It’s a polyrhythm—makes your head tilt, doesn’t it?”
It did. And my ears perked up.
Until that point, rhythm for me had been straightforward: keep the beat, lock the groove. But that day, something shifted. I realised rhythm wasn’t just a container for the melody—it could be the emotion, the colour, even the hook.
So what exactly is a polyrhythm—and why should you, as a songwriter, care?
Let’s unpack it!
1. Polyrhythms: When Two Rhythms Collide On Purpose
At its core, a polyrhythm is a situation where two or more contrasting rhythms are played simultaneously.
Think of it like this: one part of your song is tapping out groups of 2s (say, a kick drum), while another is moving in 3s (like a shaker or vocal phrase). These don’t line up neatly every beat—they phase and clash and resolve in unexpected places. That’s the magic. It creates movement, tension, and something you can feel more than you can count.
The most common polyrhythm is the 3:2, where three evenly spaced beats play over two. If you’ve ever clapped along to African or Latin music, gospel, or even some R&B grooves, the chances are you’ve felt this without knowing its name.
Polyrhythms create groove with grit—a kind of rhythmic friction that can make a song feel alive, unpredictable, or hypnotic. And often, that’s exactly what your listener needs to stay hooked.
2. Polyrhythms in Pop? More Than You Think
You might be thinking: “This sounds like something for jazz drummers, not songwriters.” But polyrhythms show up more than you realise—especially in genres that rely on feel: R&B, soul, worship, afrobeat, funk, even certain pop and indie tracks.
They show up more than you realise
Here are a few quick examples:
Beyoncé – “Déjà Vu”
The percussion has a galloping 6/8 groove, while the melody sits more comfortably in 4. That slight rhythmic tension adds urgency and swagger.Adele – “Rolling in the Deep”
Listen closely to the way the drums and vocals interlock—the rhythm guitar and tom hits pull in slightly different feels, adding drama to an otherwise steady pulse.Jacob Collier – “Wherever I Go”
He does this all the time, but “Wherever I Go” is a great example. A walking masterclass in rhythmic complexity, often layering 3, 5, and 7 over straight time. And yet—somehow—still catchy. And fabulous harmonies.
Even if you’re not chasing complexity, understanding how to introduce a bit of rhythmic counterpoint can make your songs feel more dynamic and fresh, without losing clarity.
3. How to Use Polyrhythms in Your Writing (Without Losing the Plot)
You don’t need a drum machine or a music degree to start experimenting with polyrhythms. Here are a few simple ways you can dip your toe in the water:
Try Layering Your Rhythms – Record a basic 4/4 loop—then clap or sing a phrase that repeats every 3 beats. Let it loop. Feel how the two parts drift and realign. This works beautifully with hand percussion, piano patterns, or even backing vocals.
Phrase Across the Barline – Instead of writing lyrics that land neatly on beat 1, try stretching a lyrical phrase so it spills over into the next bar. Your voice becomes a rhythmic foil to the groove underneath. It builds anticipation and makes a chorus hit even harder.
Use Percussion Creatively – Add a percussion loop (such as a shaker, rim, or tambourine) that plays in 3s or 6s over a straight beat. Producers do this all the time to subtly introduce motion and lift.
Write With a Loop That Challenges You – Find (or make) a loop in 6/8 and try writing a melody as if you’re in 4/4—or vice versa. You’ll naturally start to play with tension, and that’s where polyrhythms love to live. And song publishers always love 6/8s.
The best part? Most listeners won’t even realise what you’re doing. They’ll just say, “This feels cool” or “That groove pulls me in.” That’s the songwriter’s sweet spot.
In Summary
Polyrhythms aren’t about showing off—they’re about emotional movement. They can make your verses feel more curious, your bridges more unsettled, and your choruses more grounded by contrasts. They keep the listener’s body engaged and their brain just slightly off-centre. If you’ve ever felt stuck in a rhythmic rut—every chorus landing the same, every verse feeling too straight—this might just be the trick to shake things up.
Not to mention, they’re fun. And as songwriters, we could always use a bit more fun in the process.
If you’re ready to dive deeper into rhythm and how it shapes our listening experience, check out “The Rhythmic Structure of Music” by Grosvenor Cooper & Leonard B. Meyer. It’s a bit academic but full of gems that can rewire how you hear and write rhythm.
Questions
Here’s something you might want to think about –
Is there a section in one of your existing songs where you could introduce a second rhythm to increase momentum or contrast?
Could you experiment with a melody or lyric that lands off the beat, to play against the rhythm underneath?
What songs do you love that use rhythm in surprising or layered ways—and what could you steal from them?
If you want to know more about how to polish your songs, click here. And if you combine polyrhythms with harmonic dissonances, they suddenly sound crazy interesting!
Hope this helps!
Simon.