Three against two sounds complicated until you give both rhythms the same starting point and the same total duration. One part makes three evenly spaced sounds while the other makes two. They meet again at the beginning of the next shared cycle.
Baylor’s Rhythm and Meter Compendium introduces these simultaneous divisions with musical examples. The key is that the two parts keep their own spacing; one does not simply speed up to copy the other.
Use six equal steps
Here is an original practice version. Count six small, evenly spaced steps aloud: 1, 2, 3, 4, 5, 6. Tap one hand on steps 1, 3 and 5. Tap the other on steps 1 and 4. Repeat without adding a pause between 6 and the next 1.
The three-note hand divides the cycle into three equal spans of two steps. The two-note hand divides it into two equal spans of three steps. Both hands begin together, but their middle taps do not coincide.
Practise each hand separately first. Then combine them slowly enough to keep the six underlying steps even. If the rhythm becomes a series of hurried clusters, return to one hand rather than increasing the tempo.
Listen to one layer at a time
Record a short attempt and listen first for the three evenly spaced taps, then for the two. You are checking the spacing of each layer, not merely whether the hands land together at the start.
Once the coordination feels stable, make one hand quieter. This helps you hear the relationship as two parts rather than a single sequence of impacts. Swap which layer is prominent.
The six-step scaffold is a learning aid. In music, the notation and larger pulse determine how the relationship fits the phrase. Keep listening for that surrounding pulse instead of treating every example as an isolated counting puzzle. The pleasure of the pattern comes from hearing two orderly rhythms coexist inside one span.