CHAUTAL (CHOWTAL)
Description
Chautal, variously referred to as Chartal, Chowtal, and even occasionally as Dhrupad tal, was a very common tal in the past. The names Chautal, Chowtal, and Chartal all mean "four claps"; this is a reference to the four claps of its vibhag structure. A few musicians refer to this tal as Dhrupad tal. Although this is a considerably less common name, it clearly refers to its strong usage in the dhrupad tradition.
Chautal has 12 matras. But this is the only thing that we can say with absolute certainty about its structure.
There seems to be some disagreement as to the vibhag arrangement. One school of thought contends that it consists of four vibhags of 4, 4, 2, and 2 matras respectively. According to this school, Chautal has only claps and no waves of the hand. Therefore, each of the four claps corresponds to a vibhag. This is the version that is shown below. There is another school which suggests that the structure of Chautal is the same as Ektal. Therefore, it would be viewed as six vibhags of two matras each. According to this school, the vibhags are clap, wave, clap, wave, clap, clap.
Chautal is strongly linked to the pakhawaj tradition; this has profound practical and theoretical implications. It is performed in a very heavy, powerful manner which is in sharp contrast to the more delicate style of the tabla. Furthermore, there are difficulties when we speak of the theka. Where modern tabla players use the theka as the defining characteristic of the tal, pakhawaj players of old used the clapping / waving arrangement. Many suggest that the term "thapi" should be used instead of "theka" as an indication of this fundamental conceptual difference.
The fact that there is not really a "theka", but instead a "thapi" has tremendous practical importance. It is very normal for pakhawaj players to freely improvise in the middle of accompaniment. There is not the pressure to constantly play a simple "theka". This constant free improvisation may be at times disorienting to the modern concert goer who is used to the theka for the accompaniment of kheyal, dadra, thumri and other contemporary classical forms.
Chautal tends to be played in the medium tempos only. One almost never hears extremely fast (ati-drut) or extremely slow (vilambit) perfomances.
Below are the characteristics of Chautal:
Clapping/ Waving Arrangement
clap 2, 3, 4, clap, 2, 3, 4, clap, 2, clap (disputed)
Number of Beats
12
Theka
(general discussion of theka)
This is excerpted from the upcoming "Learning the Tabla -2"
DADRA TAL
Description
Dadra tal is six or three beat tal which is extremely common in the the lighter forms of music. It is is commonly found in qawwalis, film songs, bhajans, gazals, and folk music throughout India.
The name is derived from its association with the dadra style of singing. This is a semiclassical form that is somewhat similar to thumri. The dadra style of singing in turn, derives its name from the place where it began.
There are a number of reasons for Dadra's extreme popularity. One reason is the ease in performing in three and six beats; it is very symmetrical and posses no great challenge. Another reason for it being so common lies in the Indian taxonomy of tals. Virtually any tal of three, six, and 12-matras of folk origins, is routinely lumped under the title of Dadra. Even though they may have no cultural connections, traditional Indian musicology considers them to be the same tal. Therefore, the large number of musical tributaries contributes greatly to the variety of prakars, its popularity, and the geographical distribution of Dadra.
The "textbook case" is simple. It is a six-beat tal that is divided into two vibhags of three matras each. The first vibhag is clapped and the second vibhag iswaved.
Dadra may be played in a variety of tempos. It may be heard anywhere from moderately slow to extremely fast speeds. Only the extremely slow (vilambit) performances are conspicuously absent.
Clapping/ Waving Arrangement
clap, 2, 3, wave, 2, 3
Number of Beats
6
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Streaming Audio in Dadra Tal
Baul Song - A song based upon the music of the wandering minstrels of Bengal known as the Baul. (CD)
Mi Andara Ki Sai Ram (streaming MP3) - A Telugu song in praise of Sai Baba from the film "Sudha Binduvulu" lyrics by Raojee music by B. Chitibabu
Kavita o Kavita (part 3) - Third part of Sri Sri's Kavita o Kavita. (CD)
DIPCHANDI TAL (DEEPCHANDI, CHANCHAR, CHOCHAR)
Description
Dipchandi also known as Chanchar or Chochar and is a moderately popular 14 beat tal in northern India. It may roughly be translated to mean "lamplight". This tal is divided into four vibhags (measures) of 3, 4, 3 and 4 matras. These vibhags are denoted by a clap, clap, wave, and clap respectively.
Today, there are two common prakars of dipchandi. There is one which is used in film songs and light music and another which is used in semiclassical forms such as the thumri. The one which is used in thumri is general considered the "official" version, and is the one which is shown here.
Clapping/ Waving Arrangement
clap, 2, 3, clap, 2, 3, 4, wave, 2, 3, clap, 2, 3, 4
Number of Beats
14
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
DHAMMAR TAL
Description
Dhammar tal is a very old tal of the pakhawaj tradition. As such it is played in a heavy handed style which is more appropriate to the dhammar and dhrupad style of singing than the contemporary styles such as kheyal, or thumri. It is conspicuously absent in the popular styles such as filmi sangeet, gazal, and the like.
There are differences of opinion concerning its structure. Most musicians consider dhammar to be divided into four vibhags of 5, 2, 3, and 4 matras. These vibhags are denoted with a clap, clap, wave, and clap respectively. However, there is a different school of thought which suggests that the division should be 3, 4, 3, and 4 matras; this approach is definitely not the most common one, therefore we will adhere to the former approach.
Clapping/ Waving Arrangement
clap, 2, 3, 4, 5, Clap, 2, Wave, 2, 3, Clap, 2, 3, 4 (disputed)
Number of Beats
14
Theka
(general discussion of theka)
This is excerpted from the upcoming "Learning the Tabla -2"
EKTAL
Description
Ektal is a very popular tal. It is is common in classical music such as the kheyal, and semiclassical forms such as Rabindra Sangeet.
The structure of ektal is simple. It is 12 matras divided into of six vibhags of two matras each. Its clapping arrangement is clap, wave, clap, wave, clap, clap.
It is most associated with the kheyal style of singing. A particular movement known as bada kheyal or vilambit kheyal is performed almost exclusively in very slow ektal. However, ektal is also performed in fast kheyal as well.
The name "ektal" literally means "one-clap". How the name came is a mystery since it has four claps
Clapping/ Waving Arrangement
clap, 2, wave, 2, clap, 2, wave, 2, clap, 2, clap, 2
Number of Beats
12
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Streaming Audio In In Ektal
Darbari Kanada (Vilambit) - Vilambit Kheyal in Darbari Kanada. (CD)
Darbari Kanada (Drut) - Drut Kheyal in Darbari Kanada. (CD)
JHAPTAL
Description
Jhaptal is the most common 10 beat tal in northern India. It is composed of four vibhags of 2, 3, 2, and 3 matras. These vibhags are denoted by clap, clap, wave, and clap respectively. Jhaptal shows up in a variety of classical and semiclassical settings. It may be found in the kheyal, tarana, bhajan, and Rabindra sangeet.
Clapping/ Waving Arrangement
Clap, 2, Clap, 2, 3, wave, 2, clap, 2, 3
Number of Beats
10
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Streaming Audio In Jhaptal
Omkar Rupini - A bhajan in praise of Shakti. (CD)
JHUMRA TAL (JHOOMRA)
Description
Jhumra is is a 14 matra tal that was once popular for slow kheyals. This has almost entirely been replaced by Ektal. It is divided into four vibhags of 3, 4, 3, and 4 matras (beats). These vibhags are denote by a clap, clap, wave and clap respectively.
Clapping/ Waving Arrangement
clap, 2, 3, clap, 2, 3, 4, wave, 2, 3, clap, 2, 3, 4
Number of Beats
14
Theka
(general discussion of theka)
This is excerpted from the upcoming "Learning the Tabla -2"
KAHERAVA (A.K.A. KHERVA KAHERAWA OR KHERAWA)
Description
Kaherava may be considered to be the most popular tal in Northern India. It is an eight-beat tal of the non-classical traditions. It is widely used in folk music, filmi sangeet, qawwali, rabindra sangeet, and gazal. It is not found in the classical traditions such as kheyal, tarana, dhrupad, and dhammar.
The structure of kaherava is simple. It is composed of two vibhags of four matras each. The first vibhag is denoted by a clap, while the second vibhag is denoted by a wave of the hand.
The broad popularity of kaherava tal is a bit misleading. Its popularity is skewed by the fact that the term kaherava is applied to a broad number of unrelated tals; therefore, virtually any four, eight, or sixteen matra tal of the non-classical traditions may be called kaherava. It should be no surprise that there are countless prakars (variations).
The "official" theka is shown below:
Clapping/ Waving Arrangement
clap, 2, 3, 4, wave, 2, 3, 4
Number of Beats
8
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Streaming Audio in Kaherva Tal
Chando Langar - A bhajan performed in a thumri style. (CD)
Guru Hamare - A dhun in praise of the spiritual guru. (CD)
Darashan Dena - This is a famous Mira bhajan. (CD)
Tu Sumiran Kar Le - A bhajan by Guru Nanak. (CD)
Hari Name Sumar Sukha Dham - Bhajan. (CD)
Om Jaya Jagadish Hare - Famous dhun used in Aratis. (CD)
Niru Bal Ke Balram - A Hindu bhajan by Surdas. (CD)
Chalo Mana - A Mira bhajan. (CD)
Payoji Maine - Bhajan in praise of Lord Ram. (CD)
Nedu Komaku (streaming MP3) - A Telugu love song from the film "Manamahatmudu", music by Chataranjan, lyrics by P. E. Vidyasagar
Nava Kavita - Sri Sri's philosophy of modern poetry. (CD)
Makara Sankranti - A Telugu song in praise of the Indian winter festival of Makara Sankranti. Lyrics are by A.V. Murali
Kavita o Kavita (part 1) The first section of Sri Sri's "Kavita o Kavita". (CD)
Kavita o Kavita (part 4) - Fourth part of Sri Sri's Kavita o Kavita. (CD)
Kavita o Kavita (part 5) - Fifth part of Sri Sri's Kavita o Kavita. (CD)
Kavita o Kavita (part 6) - Sixth part of Sri Sri's Kavita o Kavita. (CD)
Shiva Shankar - Bhajan in praise of lord Shiva. (CD)
KHEMPTA TAL (KEMPTA)
Description
Khempta, also referred to as kemp, kempta, kemptal, or khemptal, is an extremely common 6 beat tal. It is debatable whether this is really a separate tal or merely a prakar of dadra. It is probably better to NOT consider this to be a separate tal, yet this prakar is so common that it deserves special consideration.
The structure of khempta is indistinguishable from dadra tal. It is composed of two vibhags of three matras each. The first vibhag is clapped while the second vibhag is designated by a wave of the hand. Although the structure is indistinguishable from dadra, the theka is different.
The characteristics of kempta are shown below:
Clapping/ Waving Arrangement
clap, 2, 3, wave, 2, 3
Number of Beats
6
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Streaming Audio in Kempta (Dadra)
Ram Sumira - Bhajan in praise of Lord Ram. (CD)
Tumak Chalat Ram Chandra - A bhajan by Tulsidas on Lord Ram. (CD)
Tu Dayal - A Tulsidas bhajan. (CD)
PASHTU TAL (PASHTOO TAAL)
Description
Pashtu, also transliterated as pashtoo, is an interesting variation upon rupak tal. Its characteristics, definition, and even its very existence are the subject of much debate.
I believe that the story of Pashtu goes something like this:
There was a major effort to codify Indian music in the early part of the 20th century. There were numerous reasons for this codification. The most obvious one was that the ancient texts that had been around for some centuries were clearly irrelevant to contemporary practice.
However, the process of codifying the music had political overtones. We must remember that this was a time of rising nationalistic sentiments and the concept of an Independent India (i.e. "Azad-i-Hind) was predicated upon a basic concept of "Indian-ness". Although this may seem strange today, we must remember that there was not a clear sense of Indian self identity at that time. South Asia in the early 20th century was populated by peoples with drastically different individual cultures who were struggling in their search for commonality.
Indian classical music became a part of this emerging sense of self identity. The works of scholars and musicians such as V.D. Paluskar and V.N. Bhatkhande were important in creating, codifying, and spreading "Indian" music.
The desire to unify theses disparate regional and communal cultures of India were reflected in the desire to codify the disparate interpretations of rags and tals into a single cohesive whole. In most cases these attempts were successful. However, in the case of pashtu / rupak tal they failed.
It is not clear why pashtu failed to be amalgamated under the heading of rupak tal. Perhaps it was because the usage of pashtu was geographically too far from the present boundaries of India; the name "pashtu" implies the area on the Pakistan / Afghanistan border. Perhaps it was political; it is possible that in the last century that pashtu had become associated with a song or particular style of Pakistani music. Perhaps the amalgamation failed because of some inherent musical interpretation; remember, many consider pashto to be consisting entirely of claps while rupak tal begins with a khali.
Regardless of what the issues were, pashtu failed to be amalgamated into rupak tal. This leaves an interesting question. Why do people not talk of this failure in amalgamation?
Amalgamation as a cultural process is not consistent with traditional Hindu world views. Traditional Hindu world views, and by extension Indian political correctness, are strongly biased toward the process of cultural differentiation. For example, it is the Vedas which are considered the fountain-head of ALL culture; therefore, all modern cultures are belived to have been derived from these. In a similar fashion, Sanskrit is considered to be the mother of ALL languages; therefore, all of today's vernacular languages (i.e. Prakrit), are belived to have been derived by a process of differentiation.
It is this basic bias toward cultural differentiation that blinds most Indians to the twists and turns of cultural amalgamation. I believe that this is why the failure to amalgamate pashtu into rupak tal is not full appreciated.
This is all very interesting, but I am sure that most readers are more interested in the musical characteristics of pashtu than the cultural issues surrounding its creation.
The musical characteristics of pashtu are simple. It is usually considered to be three vibhags of three, two, and two matras. All three vibhags are clapped and there is no khali. There are some who consider the structure to be wave, clap, clap; this however does not seem to be the most common view.
Clapping/ Waving Arrangement
clap, 2, 3, clap, 2, clap, 2
Number of Beats
7
Theka
(general discussion of theka)
For more information check out "Learning the Tabla"
SITARKHANI (PUNJABI THEKA)
Description
Punjabi theka is a common tal of 16 beats. Some suggest that it is not really a separate tal, but is merely a prakar of tintal. There are different views as to its name. Some call it Punjabi theka and others call it sitarkhani.
Vocalists usually refer to this as punjabi theka; presumably, at some time in the past, this was a variation of tintal that was popularised by musicians from the Punjab. The Punjab is a border area between Pakistan and India. Lahore and Amritsar are two important cities in the Punjab.
Instrumentalists tend to call this tal sitarkhani. Presumably, this is a corruption from the phrase "Siddhar-Khan-e-theka" which literally translates to "Siddhar Khan's Groove". Siddhar Khan was a great musician who is sometimes credited with the invention of the tabla. In spite of the name, there seems to be no evidence that Siddhar Khan ever played this theka. (Still absence of evidence is NOT evidence of absence.)
Sitarkhani has a very distinctive movement. It is just tintal where the two Dhins in the middle of each measure (vibhag) have been replaced by a single Dhin that rests on the off-beat. It is this distinctive syncopation that gives this tal its pleasant effect.
Sitarkhani's (punjabi theka) characteristics are shown below:
Clapping/ Waving Arrangement
clap, 2, 3, 4, clap, 2, 3, 4, wave, 2, 3, 4, clap, 2, 3, 4
Number of Beats
16
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Description
Punjabi theka is a common tal of 16 beats. Some suggest that it is not really a separate tal, but is merely a prakar of tintal. There are different views as to its name. Some call it Punjabi theka and others call it sitarkhani.
Vocalists usually refer to this as punjabi theka; presumably, at some time in the past, this was a variation of tintal that was popularised by musicians from the Punjab. The Punjab is a border area between Pakistan and India. Lahore and Amritsar are two important cities in the Punjab.
Instrumentalists tend to call this tal sitarkhani. Presumably, this is a corruption from the phrase "Siddhar-Khan-e-theka" which literally translates to "Siddhar Khan's Groove". Siddhar Khan was a great musician who is sometimes credited with the invention of the tabla. In spite of the name, there seems to be no evidence that Siddhar Khan ever played this theka. (Still absence of evidence is NOT evidence of absence.)
Sitarkhani has a very distinctive movement. It is just tintal where the two Dhins in the middle of each measure (vibhag) have been replaced by a single Dhin that rests on the off-beat. It is this distinctive syncopation that gives this tal its pleasant effect.
Sitarkhani's (punjabi theka) characteristics are shown below:
Clapping/ Waving Arrangement
clap, 2, 3, 4, clap, 2, 3, 4, wave, 2, 3, 4, clap, 2, 3, 4
Number of Beats
16
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
RUPAK TAL (A.K.A. ROOPAK TAL, ROOPAKTAL, RUPAKTAL)
Description
Rupak tal is a common seven beat tal in Northern India.
Rupak tal may be found in almost any musical style. It is found in film songs, kheyal, gazal, instrumental pieces; virtually any north Indian form. The only forms where it is absent are the dhrupad and dhammar styles of singing; it is only absent in these styles because tivra tal serves the same function.
Rupak is unique among the tals in that the first beat ( i.e., the sam) is khali (i.e., represented by a wave of the hand).
The theka of rupak is uncomfortably similar to pashtu tal. The only difference is that many musicians prefer to think of pashtu as consisting entirely of claps; while rupak tal begins with a wave of the hand.
The form of rupak is shown below:
Clapping/ Waving Arrangement
wave, 2, 3, clap, 2, clap, 2
Number of Beats
7
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Streaming Audio in Rupak Tal
Sri Ram Chandra - A Tulsidas bhajan in praise of Lord Ram. (CD)
Nijamgane - Song of Sri Sri. (CD)
Jayabheri - This is a Telugu song in praise of the small. (CD)
SULTAL (A.K.A. SOOLTAL, SULFAK, SHULTAL SOOLFAK)
Description
Sultal (variously know as shultal, shooltal, sulfak, or soolfaktal) is a tal of the pakhawaj tradition. It is composed of 10 beats and was very commonly used to accompany dhrupad singers.
There is a lack of agreement concerning virtually everything about sultal. It has already been pointed out that there is a lack of aggreement concerning the pronunciation and transliteration: this however, is normal for almost everything in Indian music. Furthermore, there are dissagreements concerning the number of beats; some suggest that sultal should be considered to be of 5 beats instead of 10 beats. There are a variety of views concerning its vibhag structure and their corresponding claps and waves. There is not even any agreement as to what the theka should be. This last disagreement stems from the fact that pakhawaj players of old did not have thekas as we think of them today; instead they used something known as a thapi.
The fact that there is not really a "theka", but instead a "thapi" has tremendous practical importance. It is very normal for pakhawaj players to freely improvise in the middle of accompaniment. There is not the pressure to constantly play a simple "theka". This constant free improvisation may be at times disorienting to the modern concert goer who is used to the theka for the accompaniment of kheyal, dadra, thumri and other contemporary classical forms.
A common version of sultal is shown below:
Clapping/ Waving Arrangement
clap, 2, wave, 2, clap, 2, wave, 2, clap, 2 (disputed)
Number of Beats
10 (disputed)
Theka
(general discussion of theka)
This is excerpted from the upcoming "Learning the Tabla -2"
Streaming Audio in in Sultal
Kavita o Kavita (part 2) - Second part of Sri Sri's Kavita o Kavita. (CD)
TINTAL (TEENTAL)
Description
Tintal is without any doubt the most common tal in the north Indian classical system of music. It is variously referred to as teental or trital. These names all reflect the three claps of its vibhags structure.
The structure of tintal is so amazingly symmetrical that it presents a very simple rhythmic structure against which a performance can be laid. It is composed of four vibhags of four matras each. These vibhags are represented by a clap, clap, wave, and a clap.
The structure of tintal is shown below:
Clapping/ Waving Arrangement
clap, 2, 3, 4, clap, 2, 3, 4, wave, 2, 3, 4, clap, 2, 3, 4
Number of Beats
16
Theka
Note - This excerpt has been taken from "Learning the Tabla"
(general discussion of theka)
For more information check out "Learning the Tabla"
Streaming Audio in Tintal
Gaiye Ganapati - A bhajan in Praise of Lord Ganesh. (CD)
Fast tarana - A drut (fast) tarana in rag Bhairagi Bhaairav. (CD)
Mohe Lage Lagan - A bhajan in praise of the guru. (CD)
Kedar Tarana - A tarana based upon Rag Kedar. (CD)
Tilana - A lively form of song using meaningless syllables.
Kheyal in Maru Bihag - A fast kheyal in a strict rendition of Rag Maru Bihag. (CD)
TIVRA TAL (A.K.A. TEEVRA, TIVRATAL, TEEVRATAL)
Description
Tivra tal, variously referred to as tivratal, teevra, or teevra tal, was once a common 7-matra tal of northern India. It was used in the dhrupad style of singing.
Tivra is part of the pakhawaj tradition. This traditon did not have a single theka as we think of it today, but instead used a series of simple accompaniment patterns known as thapi.
Tivra tal began to fall out of fashion as the dhrupad fell out of fashion. This was in the 20th century. Just as the kheyal replaced dhrupad, rupak tal replaced tivra.
Its characteristics are shown below:
Clapping/ Waving Arrangement
clap, 2, 3, wave, 2, clap, 2
Number of Beats
7
Theka
(general discussion of theka)
This is excerpted from the upcoming "Learning the Tabla -2"
TILWADA (TILWARA)
Description
Tilwada is a variant of tintal. The number of beats, the vibhag structure, the clapping, waving, all are identical to tintal. Even the bols of the theka are so similar that it could be declared a prakar rather than a separate tal. However, we will bow to common usage and consider tilwada to be a distinct tal.
Tilwada is occasionally used in Kheyal. However, its use has almost been entirely replaced by tintal and ektal.
The structure of tilawada is shown below:
Clapping/ Waving Arrangement
clap, 2, 3, 4, clap, 2, 3, 4, wave, 2, 3, 4, clap, 2, 3, 4
Number of Beats
16
Theka
(general discussion of theka)
This is excerpted from the upcoming "Learning the Tabla -2"
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