A problem with the cross rythmn

[chongpong]

Hi,i am a self-leaner.

I have a problem with the cross rythmn in the followings pic.

7 with right hand and 6 with left hand.

Should the right hand & left hand F flat, press at the same time?

Thank you in advance!

[counterpoint]

I think I play the 6th note of the right hand (B flat) together with the 5th note of the left hand (D flat). So all other notes are not together. At least not by intention 

[ted]

Is this particular grouping of seven not just a notational convenience representing a flourish of notes rather than a strict cross rhythm ? I cannot see it matters about coincidence of notes. In some cases, the composer does actually write such things because he wants a very precise rhythmic effect, in the Rhapsody In Blue or Brubeck solos for example. However, in this case, and in hundreds of other florid romantic pieces, I think the numerical groupings are just a written convenience with no rhythmic implication. 

[gyzzzmo]

Like ted said, you shouldnt be concerned with any 'rhythm'. The right hand is supposed to be played freely, as long as you play the left hand mostly even.

Gyzzz

[keypeg]

Is that 12/8 i.e. compound time, so that there are 4 beats of 3 triplets each, or is it a different time signature?  If it's 12/8 time, wouldn't the second measure have an error in the treble?  The meter would have a bearing on the rhythm, I would think.

[quantum]

It's the middle section of the FI.

This is a rather lyrical section of the piece, and a more free flowing expressive melody is called for.  Lining up notes to exact tolerances is not really necessary in this such a context.

[slobone]

I'm always chasing rayyyyynbowwwwws...

[jinfiesto]

Ok. Since no one else is very helpful. The six against seven works like this, and this is simplified.  The first notes play simultaneously, and then the second note of the sextuplet plays. After that, they alternate. It's really an easy polyrhythm.

[slobone]

Well, that's the way my teachers always told me to do it. So I carefully drew lines on my music to show where each note in the right hand came between notes in the left hand (and there are plenty more complicated examples than this in Chopin). But in practice I never really played it that way. Just like somebody else said here, practice hands separate until each one sounds right, then put them together. This is one case where slow practice doesn't help.