3 against 5. That's the rhythmic dissonance in my life right now. Ouch. I've yet to satisfyingly solve the spacious opening of "Natural Music" (oh, the irony is not lost) where the micromanaged subdivisions of a seemingly unheard 4/4 meter for some reason turn my hands into dumb stumps. Would these "waves lapping against a shore" come more easily if notated in broad, over-the-bar-line threes and fives? I doubt it. If I faced that notation, I'd probably pencil in the rhythm as it would appear in 4/4. Just for kicks. But, tomorrow. I'll figure it out. I hope. The composer hears it next week.
Techie talk. I warned you. And to whomever thinks that at quarter note=44 this is easy: do you really hear the two separate lines, the three against the five, or are you just cheating it into 4/4?