One way to think about rhythmic patterns is as a collection of 2s and 3s.
Take a 3/4 time signature. It is divided into 3 beats and those beats are commonly subdivided into 2 eighth notes*.* This gives us 2+2+2, or 6 total eighth notes.
Now, what if instead of grouping 3 beats of 2 (2+2+2), we have 2 beats of 3 (3+3)?
(Note: if a piece always followed this 3+3 pattern we would instead use a 6/8 time signature.)
Practice feeling this difference either by tapping or counting it out:
(1-2-) (1-2-) (**1-**2-) (1-2-3-) (1-2-3-)
This shifting of the underlying pulse in triple meter shows up all the time in world music and jazz.
Here is an example from Holst:
https://youtu.be/HID5fYz93B8?t=96
Or Ravel (note how both 3/4 and 6/8 are listed - take note of the beam grouping and accents to get a sense of the implied meter in each bar of each part):
https://youtu.be/ieRQyyPowH0?t=461
As you listen to this, try to clap/snap in 6/8 (two pulses per measure) and 3/4 (three pulses per measure).
So that's an introduction to the idea of using 3s and 2s as rhythmic building blocks in one specific measure length, but this can be expanded in countless ways.