Play the polyrhythms divided by both hands to hear what is going on. In the case of the Faure Nocturne where the middle voice is syncopated quarters, practice by pulsing in eighth notes (play two eighths when you have a quarter, similarly replace longer values with eighths, and play tied notes), also play a note where you have rests. You do this in order to hear the underlying rhythmic grid. Gradually restore rhythmic values to those as written. Also since the Nocturne contains polyrhythm passages in 3 voices, practice all permutations of 2 voice combinations. That is: 1+2, 2+3, and 1+3. Do this before you combine all the voices. Apply this procedure to the rhythmic grid exercise above. Another thing to practice is the rhythm as written, removing all pitch values. You can tap, clap, stomp, beat drums, or use fingers on a closed fallboard or desk surface.
+1 to previous, i played w the Scriabin horn/piano piece a few years ago and i found it was just something I needed to 'grind through' slowly until the coordination and sound got ingrained in me.on a somewhat related not, that Scriabin is a beautiful and under appreciated work, I learned it in hopes I could find and or even pay a horn player to learn the solo wind part so we could put it together but the there wasn't really a strong enough horn player in my school at the time that could take on an extra project on top of all the lit they had for studio and orchestra/wind ensemble....as an aside, you might like this piece too, another one i would learn and then try to seek out a wind player to put it together with. this thing is one of the coolest trombone pieces I know and the piano part is super groovy
I can play polyrhythms in each hand but the problem is the technique of it on one hand and making it seem effortless and not compromising the tonality.
Topic: eighth notes and triplets in the same hand 