It was debussys arabesque (sp?) #1. There are alot of places in there where one hand is playing triplets against eighth notes in the other hand, and I couldn't play those parts without terrible syncopations and uneveness, etc. My teacher had taken me through it a few times and explained which notes to accent, where they go in relation to time, etc. She had my clapping the 3 against 2 rhythm for awhile.
Eventually I realized that if I played the measure (Measure 6 in this case) really fast, I could get it. And then I realized that it was because on each beat of the measure, both hands played a note at the same time. So I tried slowing it down while trying to focus all my attention on the 3 places where the hands played together (Accenting them so that they were the only ones that could be heard prominently).
So from there, I realized those notes (Plus a note at the beginning of the bar) are all the beats in the measure! And there were 4 of them! Could this be the 4 in the time signature ?? I looked at some other pieces, and it turned out to be true: The number of beats in each measure was the same number indicated by the time signature. (I had until then considered the time signature "Just another of those inexplicable symbols on my music paper") Suddenly, stuff I had learned years ago and stuff I had learned yesterday all came together to somehow make sense. I had, up untill that point, been playing everything as if every beat in the measure was a downbeat, and each note was a beat. (For example, if I was playing 16th notes in a piece in 3/4 time, each 4th 16 note would get an equal accent, and some notes would randomly get accented for whatever reason).
This was all about a year or two ago - I subsequently looked through all my pieces (All 5 of them, lol!) and checked out the rhythm, only to find it was some horrible mess, except in degenerate cases. [Joplin rags usually have simple rhythm, for example; and it's kept in check by the continual LH oom-pah. (But this rhythm is simple only on the surface - the RH is going through all kinds of sycopated rhythmic contortions. I'm rediscovering the joy of ragtime)]
So now I consider anything with a haphazard rhythm to be glorified noise.