The Power of Konnakol (7): How to play anything over anything

Step-by-step instructions how to play any number of notes over any number of beats. This video lesson includes the following polyrhythms:
3 over 4, 3 over 5, 3 over 7, 4 over 7, 5 over 4, 7 over 4.


topics: rhythm, konnakol, subdivisions, polyrhythms
Level: advanced
Instruments: for all instruments
Duration: approx. 9:40 min


For a list of all my video lessons go here.
You could also use the tag cloud (in the footer area of this website) in order to look for video lessons.

All German-speaking viewers may have a look at my translation page.


  1. I am deeply intrigued by your video “The Power of Konnakol (7); How to play anything over anything”. The formula that you have given seems completely general and is very attractive in understanding the topic.
    However, I am puzzled by the convention used in your notation. I am of the belief that the notation 3/4 indicates that there are 3 quarter notes in a bar. (3 being the numerator and 4 being the denominator). So if I follow your primary formula I have 4 Ta ki ta phrases:
    Ta ki ta Ta ki Ta Ta ki ta Ta ki ta,
    where the capitalized letters indicate a tick of the metronome. Similarly, if I follow your formula for 3/5, there are five Ta ki ta phrases:
    Ta ki ta Ta ki ta Ta ki ta Ta ki ta Ta ki ta
    where the metronome tick is again on the capital letters. I am confused by the fact that the metronome tick has remained the same for both 3/4 and 3/5. In the second case, I expect the tick to be faster
    since I am expecting a 1/5 note instead of a 1/4 note. What am I getting wrong?

    • Hello Vijay, thanks for your question. The examples I used in my video are not intended to share a common bpm, nor are they related to each other. In other words, each stands on its own. Regarding the example of a 4 over 3 polyrhythm, it uses a 3/4 time signature. It could be any tempo. You “squeeze” 4 groups/elements into a 3/4 measure. There there is an example of a 3 over 5 polyrhythm. It uses a 5/4 time signature. Again, you could practice this at any tempo. Of course, one could relate these different examples to each other, but that’s not what I wanted to demonstrate. It’s was intended as a starting point, offering a simple formula. Feel free to develop these exercises further. All the best, cheers!

Leave a Reply to Vijay Sonnad Cancel reply

Your email address will not be published. Required fields are marked *