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Rhythms of raga: In-depth rundown of North Indian tala cycles, demystified via bols, thekas, samples, & videos – plus further resources exploring tabla conventions and comparing tala to other global rhythmic traditions…

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तालसूचीका

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—Prominent Talas—

Tintal (16) | Ektal (12) | Jhaptal (10) | Rupak (7) | Keherwa (8) | Dadra (6)

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—Dhrupad Talas—

Chautal (12) | Dhamar (14) | Rudra (11) | Sultal (10) | Tivra (7) | Brahma (28)

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—Other Talas—

Matta (9) | Jhoomra (14) | Deepchandi (14) | Pancham Sawari (15) | Tilwada (16) | Sitarkhani (16) | Shikhar (17)

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—Fractional Talas—

Ardha Jaital (6.5) | Punjabi Lakshmi (10.5) | Chartal ki Sawari (11)

–Core Rhythmic Concepts–

• Rhythm syllables: A brief guide to bol •

• Tala terminology: thekas, tihais, & more •

• Global cycles: Carnatic, Flamenco, & Ewe •

• Further learnings: fresh tala horizons •

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Notation Notes: The first bol of each matra is underlined, and each vibhag of the theka is enclosed by (brackets). The ‘resonant’ tali are in bold, whereas the ’empty’ khali are not. See below for more!

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—Prominent Talas—

Tintal (16) | Ektal (12) | Jhaptal (10) | Rupak (7) | Keherwa (8) | Dadra (6)

• Tintal (16) •

4-4-4-4

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4: (Dha Dhin Dhin Dha)

4: (Dha Dhin Dhin Dha)

4: (Dha Tin Tin Na)

4: (Na Dhin Dhin Dha)

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–Ahir Bhairav (168 bpm)–

Fazal Qureshi & Sultan Khan

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–Rageshri (195 bpm)–

Shanta Prasad & Vilayat Khan

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–Chandranandan (65 bpm)–

Mahapurush Mishra & Ali Akbar Khan

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–Ek Prakar ki Kauns (32 bpm)–

Manikrao Popatkar & Rais Khan

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—Tintal Solo (Varanasi ghats)—

Lachu Maharaj (Benares gharana)

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• Ektal (12) •

2-2-2-2-2-2

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2-2: (Dhin Dhin) (Na TRKT)

2-2: (Tun Na) (Te Te)

2-2: (DhaGi TeTe) (GiTa KiTe)

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–Bageshri (166 bpm)–

Manikrao Popatkar & Hariprasad Chaurasia

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–Bhatiyar (255 bpm)–

Subhankar Banerjee & Kala Ramnath

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–Asa Bhairav (350 bpm)–

Alla Rakha & Ravi Shankar

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–Jog (~12 bpm)–

Vijay Ghate, Rupak Kulkarni, & Kala Ramnath

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—Ektal Solo (Monterey Pop)—

Alla Rakha (Punjab gharana)

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• Jhaptal (10) •

2-3-2-3

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2-3: (Dhin Na) (Dhin Dhin Na)

2-3: (Tin Na) (Dhin Dhin Na)

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–Megh (91 bpm)–

Shafaat Ahmed Khan & Shivkumar Sharma

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–Megh (108 bpm)–

Rafiuddin Sabri & Amjad Ali Khan

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–Patdeep (58 bpm)–

Hanif Khan & Sultan Khan

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–Bhairavi (171 bpm)–

Mahapurush Mishra & Ali Akbar Khan

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—Jhaptal Solo (US TV)—

Alla Rakha (Punjab gharana)

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• Rupak (7) •

3-2-2

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3: (Tin Tin Na)

2-2: (Dhin Dha) (Dhin Dha)

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–Marwa (80 bpm)–

Mukundraj Deo & Rupak Kulkarni

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–Jansammohini (100 bpm)–

Shafaat Ahmed Khan & Shivkumar Sharma

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–Bhairavi (101 bpm)–

Nikhil Ghosh & Nikhil Banerjee

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–Jansammohini (50 bpm)–

Vinod Lele & Ashwini Bhide-Deshpande

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—Rupak Solo (Charukeshi)—

Zakir Hussain (Punjab gharana)

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• Keherwa (8) •

4-4

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4: (Ge Tha Ti Na)

4: (Na Dha Dhin Na)

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–Mishra Tilang (266 bpm)–

Zakir Hussain & Shivkumar Sharma

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–Uttar Pradesh Dhun (426 bpm)–

Sabir Khan & Hariprasad Chaurasia

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–Agra Solo (468 bpm)–

Zakir Hussain & Hariprasad Chaurasia

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—Keherwa Solo (ATV Morning)—

Tari Khan (Punjab gharana)

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• Dadra (6) •

3-3

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3: (Dha Dhin Na)

3: (Dha Tun Na)

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–Pilu (110 bpm)–

Yogesh Samsi & Kaushiki Chakraborty

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–Dhun (128 bpm)–

Vijay Ghate & Niladri Kumar

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–Bhairavi (143 bpm)–

Krishna Lal & Shivkumar Sharma

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—Dadra (Benares Kajri)—

Zakir Hussain (Punjab gharana)

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—Dhrupad Talas—

Chautal (12) | Dhamar (14) | Rudra (11) | Sultal (10) | Tivra (7) | Brahma (28)

• Dhamar (14) •

5-2-3-4

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5-2: (Ka Dhe Ta Dhi Ta) (Dha –)

3-4: (Gi Ti Ta) (Ti Te Ta –)

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–Parameshwari (90 bpm)–

Alla Rakha & Ravi Shankar

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–Hindol (60 bpm)–

Mohan Shyam Sharma & Wasifuddin Dagar

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—Dhamar Demo (Darbar)—

Sukhvinder Singh (Benares gharana)

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• Chautal (12) •

4-4-2-2

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4: (Dha Dha Dhin Ta)

4: (KiTa Dha Dhin Ta)

2-2: (TiTa KaTa) (GaDhi GheNa)

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–Todi (52 bpm)–

Sanjay Agle & Bahauddin Dagar

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–Malkauns (60 bpm)–

Dalchand Sharma & Rahim Fahimuddin Dagar

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—Chautaal (in Bhairavi)—

Ravishankar Upadhyay (Gaya gharana)

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• Tivra (7) •

3-2-2

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3: (Dha Dhin Ta)

2-2: (TiTa KaTa) (GaDhi GheNa)

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–Bols & Theka (88 bpm)–

Arjun Shejwal

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–Jogiya (53 bpm)–

Gopal Das & Asad Ali Khan

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—Tivra (in Gunkali)—

Udhav Apegaonkar (Dagar gharana)

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• Sultal (10) •

2-2-2-2-2

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2-2-2: (Dha Dha) (Dhin Ta) (TiTe Dha)

2-2: (TiTe KaTa) (GaDi GeNe)

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–Adana (155 bpm)–

Mohan Shyam Sharma & Wasifuddin Dagar

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—Sultal (in Chandrakauns)—

Manik Munde (Dagarvani gharana)

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—Other Talas—

Matta (9) | Jhoomra (14) | Deepchandi (14) | Pancham Sawari (15) | Tilwada (16) | Sitarkhani (16) | Shikhar (17)

• Deepchandi (14) •

3-4-3-4

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3: (Dha Dhin –)

4: (Dha Dha Tin –)

3: (Ta Tin –)

4: (Dha Dha Dhin –)

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–Dogri Dhun (258 bpm)–

Kashinath Mishra & Shivkumar Sharma

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—Deepchandi (in Bhairavi)—

Abhiman Kaushal (Farukhabad/Lucknow gharana)

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• Jhoomra (14) •

3-4-3-4

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3: (Dhin –Dha TRKT)

4: (Dhin Dhin DhaGe TRKT)

3: (Tin –Ta TRKT)

4: (Dhin Dhin DhaGe TRKT)

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–Bhatiyar (188 bpm)–

Shridhar Padhye & Chandrashekhar Naringrekar

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—Jhoomra (in Rageshri)—

Bharat Kamat (Benares gharana)

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• Matta (9) •

2-1-2-1-1-2

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2-1: (Dha TiTa) (NaGe)

2-1: (TiTe KaTa) (KiTe)

1-2: (TiTe) (KaTa GeNa)

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–Jog (92 bpm)–

Vijay Ghate & Hariprasad Chaurasia

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–Kaushik Dhwani (93 bpm)–

Zakir Hussain & Shivkumar Sharma

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—Matta (in Jog)—

Vijay Ghate (Farukhabad gharana)

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• Tilwada (16) •

4-4-4-4

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4: (Dha TRKT Dhin Dhin)

4: (Dha Dha Tin Tin)

4: (Ta TRKT Dhin Dhin)

4: (Dha Dha Dhin Dhin)

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–Malkauns (60 bpm)–

Shridhar Padhye & Krishnarao Chonkar

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–Bibhas (~26 bpm)–

Vishwanath Shirodkar & Manjusha Kulkarni-Patil

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—Tilwada (in Bibhas)—

Vishwanath Shirodkar (Farukhabad gharana)

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• Sitarkhani (16) •

4-4-4-4

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4: (Dha— Dhin— Dha–)

4: (Dha— Dhin— Dha–)

4: (Dha— Tin— Na–)

4: (Na— Dhin— Dha–)

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–Mishra Kafi (204 bpm)–

Subhashish & Debashish Bhattacharya

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–Jogiya Kalingda (193 bpm)–

Mahapurush Mishra & Ali Akbar Khan

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—Sitarkhani (in Pahadi)—

Shafaat Ahmed Khan (Delhi gharana)

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• Rudra (11) •

3-2-2-2-2

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3-2-2: (Dha Dhin Ta) (Dhe Ta) (Ka Ta)

2-2: (TiTa KaTa) (GaDhi GeNa)

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–Kathak Exposition (60 bpm)–

Charudatta Phadke & Sheetal Lalge

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–Bols & Variations (75 bpm)–

Sanju Sahai

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—Rudra Variations (Saakaar)—

Charudatta Phadke (kathak dance)

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• Pancham Sawari (15) •

3-4-4-4

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3: (Dhin Na DhinDhin)

4: (Ka DhinDhin NaDhin DhinNa)

4: (Ti TiNa TaKe TiNa)

4: (Ka DhinDhin NaDhin DhinNa)

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–Bhairavi (117 bpm)–

Nikhil Ghosh & Nikhil Banerjee

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–Bols & Solo (100 bpm)–

Zakir Hussain & Bruce Hamm

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—Pancham Sawari Solo (Seattle)—

Zakir Hussain (Punjab gharana)

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• Shikhar (17) •

4-4-3-2-4

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4: (Dha Ta Dhin Na)

4: (Thun Ga Tin Na)

3-2: (DhinNa KaTe Ta) (Dhin Dha)

4: (TeTa KaTa GaDhi GeNe)

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–Maa Durga Tribute (54 bpm)–

Dhaval Vartak & Shikha Chhangani

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—Shikhar Variations (Kathak)—

Akhilesh Bhatt (Benares gharana)

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• Brahma (28) •

2-2-2-2-2-2-2-2-2-2-2-2-2-2

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2-2: (Dha Te) (DheTe KiTa)

2-2: (TaKa DhinNa) (KiTa TaKa)

2-2-2: (Dhe Ta) (Dhe Ta) (DhaGe TeTe)

2-2-2: (TaGe TeTe) (Tun Na) (Ka Ta)

2-2: (Dhin Na) (KeTe TaGe)

2-2: (TeTe KaTa) (GaDhin GeNe)

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–Bols & Theka (162 bpm)–

Arjun Shejwal

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—Brahma Solo (Dagarvani)—

Raja Chatrapati Singh (Kudausingh gharana)

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—Fractional Talas—

Ardha Jaital (6.5) | Punjabi Lakshmi (10.5) | Chartal ki Sawari (11)

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• Ardha Jaital (6.5) •

3-2-1.5

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3: (Tin Na TRKT)

2-1.5: (Dhin Na) (DhaGe Na)

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–Solo (108 bpm)–

Anuradha Pal

–Bhupali Todi (143 bpm)–

Alla Rakha & Ravi Shankar

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—Ardha Jaital Solo (‘Anu’)—

Anuradha Pal (multi-gharana)

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• Punjabi Lakshmi (10.5) •

4-4-2.5

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4: (Dhin TRKT Dhin DhaGe)

4: (Tu Na Ka Te)

2.5: (DhinNa DhinDhin Na)

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–Bols & Variations (150 bpm)–

Prajapati Deep & Amit Suryavanshi

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—Punjabi Lakshmi Solo (demo)—

Chatur Lal (Delhi gharana)

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• Chartal ki Sawari (11) •

2-2-2-2-1.5-1.5

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2-2: (Dhin TRKT) (Dhin Na)

2-2: (Tun Na) (Ka Ta)

1.5-1.5: (Dhin Na) (Dhin Na)

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–Count & Solo (132 bpm)–

Zakir Hussain & Shaukat Hussain

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–Purbi Manjari (95 bpm)–

Shahbaz Hussain & Josh Feinberg

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—Chartal ki Sawari (jugalbandi)—

Alla Rakha & Zakir Hussain (Punjab gharana)

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• A Brief Guide to Bol •

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‘Bol‘ refers to a set of spoken syllables, essentially constituting the ‘language of Hindustani rhythm’: word-fragments designed to organise and clarify the sounds of different tabla strokes. Below is a breakdown of the most important bols, along with Tej Singh’s excellent demo lesson (n.b. Spelling variants abound: in particular, the vowels can vary wildly…)

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(Bols below: recorded on my tabla ^)

—Dayan strokes (treble drum)—

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• Na: Index finger strikes the edge of the maidan with force, producing a ringing, sustained tone (tuned to the raga’s Sa) – as the 3rd/4th fingers lightly mute the inner circle to control resonance patterns. Roughly akin to the tabla’s ‘snare drum’, Na is probably the most important single stroke in the repertoire.

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• Tin/Ta: Index finger strikes between the syahi and maidan, with the 3rd/4th fingers resting on the edge of the syahi to mute. Similar to Na, except less forceful and emphatic, with a strike point closer to the drum’s centre.

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• Ti/Te: Some combination of the middle/ring/pinky fingers (depending on context) strike the centre of the syahi, producing a sharp, non-resonant sound.

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• Ta/Ra: Index finger strikes the centre of the syahi (essentially, the ‘index finger version’ of Ti/Te). Typically played immediately after Ti (e.g. TiTa) – and sometimes referred to as ‘Re’ in fast passages (e.g. TiReKiTe).

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• Tun/Thun: The middle joints of multiple fingers simultaneously strike near the syahi/maidan boundary, activating the dayan’s full, unmuted resonance (typically tuned two semitones above Na: i.e. to the raga’s shuddha Re).

—Bayan strokes (bass drum)—

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• Ga/Ge/Gi: Middle and ring fingers strike near the front of the maidan, with the heel of the palm resting on the opposite side of the drum – a ‘cobra-shaped’ position, allowing the hand to slide across the skin to manipulate its pitch (successive ‘Ge-Ge-Ge…’ patterns alternate with the index finger). A resonant stroke, Ge is the near-exclusive occupant of a raga’s ‘deep-bass spectrum’.

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• Ka/Ke/Ki: The palm slaps the maidan, with fingers held flat (and extending slightly beyond the drum’s edge) – producing a brief, non-resonant sound. Notably, Ke tends to be used in place of Ge during the khali (‘empty’) portions of a tala – as well as in rapid ‘TiReKiTe’ sequences.

—Compound strokes & more—

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• Dha/Da: Simultaneous ‘Na + Ge’, producing a loud, clear ‘double resonance’ – often used to mark out the most emphatic matras of the tala. To add further accentuation, Ge will often be palm-intoned to a higher pitch than its open, ‘resting’ frequency.

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• Dhin/Din: Simultaneous ‘Ta + Ge’, producing a clear but somewhat less emphatic ‘double resonance’ (thus, ‘Dha is to Dhin as Na is to Tin‘) – allowing for complex pitch-shifting of the sustained Ge tone (e.g. tintal’s ‘Dha-Dhin-Dhin-Dha…’).

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• Dhere (‘Dhir-Dhir’): A loud, ‘full-surface slap’ of the dayan, executed by placing the whole hand further forward than usual, and striking with both sides of the palm in alternation (often as loops of ‘Dhe-Re-Te-Re‘, with the bayan only included every 4 dayan strikes). Sonically and visually distinctive, the bol is usually deployed in dedicated percussion passages rather than for instrumental accompaniment.

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• Kran/Kra: A combination of ‘Ka + Ra’, played as a non-simultaneous ‘flam’ (i.e. Ka is struck very slightly before Ra), allowing for a subtle disbalancing of the stroke’s timing [n.b. other ‘flam bols’ also exist, including ‘TreKre’: a ‘rolling’ motion onto the syahi with fingers spaced out, interspersed with Ka].

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• Ti-Re-Ki-Te (‘TRKT’): A loud, emphatic phrase used for intricate ‘rain-pattering’ sequences, often at lightning pace. Despite its name, TiReKiTe may in fact refer to several distinct technical approaches (e.g. Delhi artists favour an ‘independent middle finger’, whereas those of Benares tend to group the middle/ring/pinky) – with high-speed loops often played as ‘Ti–Re–Ki–Te Ta–Ka…’ to avoid same-finger repetitions. During my research I’ve come across a vast range of TRKT variants, including the following (1:index, 2:middle, 3:ring, 4:pinky, K:Ka):

2–1–K–34 (Delhi, ‘full loop’)
2–1–K–2 (Delhi, ‘two-finger’)
23–1–K–23 (Purbi, emphatic)
234–1–K–234 (Benares/Punjab)
1–2–K–1 (Lucknow, ‘reverse’)
1–23–K–23 (Purbi, ‘reverse’)

—Bols Demo (Tej Singh)—

A superb breakdown of all the syllables above:

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“Hindustani music is famed for its vocalised approaches to learning. Tabla exponents are expected to be able to ‘speak’ the rhythms they play, reciting syllables that closely mirror the various sounds of their drums…known as bol (derived from the Hindi bolna: ‘to speak’). Apart from forging a deep connection between the ‘inner ear’ and the sounds that are played, bol allows percussionists to practice anywhere, anytime. In my former life as a bored office worker I used to kill time by improvising bol patterns over the ticking clock as dull meetings dragged on…” (from my Twelve Days of Tabla article for Darbar)

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—Tabla History & Myth—

Bickram Ghosh recounts a vivid (if fanciful) origin tale of tabla…

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“Carved from tropical hardwoods such as mango or rosewood, tabla are skinned with a double layer of animal hyde, and finished with a central ‘dot’ of blackened rice paste to suppress unwanted overtones…It seems probable that tabla evolved from Indian folk drums some time in the 18th century, likely sparked by the infusion of Islamic ideas into existing Hindu traditions under the Mughal Empire. Inevitably, colourful origin myths also abound: including how a double-headed pakhawaj drum was split into two halves by 13th-century Sufi saint-musician Amir Khusrau…” (from my Instruments: Tabla article)

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• Tala Terminology •

Core rhythmic concepts from my Raga Glossary:

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(Tintal: sam, matras, vibhag, tali, khali)

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• Tala: The general term for Hindustani rhythmic cycles (literally: ‘clap’) – of which many hundreds are in existence. Each tala comprises a theka (‘syllabic stroke-sequence’), divided into tali (‘stressed’) and khali (’empty’) portions, anchored by a unified start/endpoint known as sam. Also see the Carnatic talam.

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• Theka: The ‘basic phrase set’ of a tala cycle – i.e. the essential sequence of strokes or bol syllables which identifies and defines it. For example, rupak’s theka is ‘Tin-Tin-Na, Dhin-Dha, Dhin-Dha‘ (divided into vibhags as ‘3-2-2’). Start by following along with the thekas listed above!

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• Laya: The ‘tempo’ or ‘matra-rate’ of a tala cycle, usually indicated as either vilambit, madhya, or drut (slow, medium, fast). The bounds between these categories are vague, and vary greatly according to the tala in question.

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• Sam: The ‘one-beat’ of a tala cycle – in other words, the start/end point of the ‘rhythm loop’. Roughly translatable as ‘balanced’, ‘equal’, or ‘together’, the sam is conceptually the most important point in the cycle – and typically the moment where most tension is released (for example a tihai should end exactly on a sam).

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• Matra: An individual ‘beat unit’ of a tala cycle – in other words, one ‘pulse count’ of the rhythmic flow (e.g. ektal=12 matras, and tintal=16). A matra, while always ‘felt’, need not actually involve audible sound (e.g. deepchandi’s first three vibhags often end with an ‘empty matra’).

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• Vibhag: A ‘measure’ or ‘segment’ of rhythm, lasting no longer than a few matras. Each tala cycle comprises several vibhags (e.g. rupak’s three vibhags are divided up as ‘3-2-2‘, while tintal has four, split as ‘4-4-4-4‘). Roughly akin to the Western idea of ‘bars/measures‘ (also see the Carnatic equivalent: anga).

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• Tali / Khali: The vibhags of a tala cycle are divided into tali (‘stressed/clapped’), and khali (‘unstressed/empty’): with the former being distinguished by the inclusion of bass-resonant bayan strokes (and the latter marked with a wave of the hand). For example, tintal’s vibhags of 4-4-4-4 are classified as ‘clap–clap-wave-clap’, while rupak’s 3-2-2 are designated ‘wave-clap–clap’ (n.b. precise tali-khali time-boundaries may not match exactly to those of the vibhag: most notably in tintal, where the khali starts one matra later than its closest vibhag: see image above).

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• Tihai: A rhythmic resolution device involving thrice-repeating a phrase so that the final stroke falls back on the sam of the tala cycle (literally: ‘three times’). Idiosyncratic to Hindustani music, the tihai is central to defining ‘release points’ during a performance, temporarily pulling the listener’s perception away from the underlying theka via an array of precise repetition sequences, including chakradhar (‘tihai within tihai’) and other mathematical tricks. Ragas often conclude with cascading ‘unison tihai’, bringing rhythm and lead into exact sync. Here’s a classic intro pattern by Sanju Sahai, opening a tintal solo:

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“Three is the smallest quantity with which a pattern can be established and then either confirmed or challenged: i.e. the lowest quantity which can express deviation. While the tihai’s third rotation is identical in form to the two that precede it, surprise comes from the fresh context the final point finds itself in…” (from my Tihai: Power of Threes article for Darbar)

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—Tridha: Triple-Tabla Horizons—

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• An intriguing percussive experiment from Darbar Festival 2019 (featuring me…in the crowd!): “Three of Pandit Shankar Ghosh’s students – Parimal Chakrabarty, Gurdain Rayatt, & Kaushik Konwar – pay tribute through a specially composed ‘trio tabla’ piece titled ‘Tridha‘. Ghosh was one of the first tabla masters to tour the USA in the early 1960s with Ali Akbar Khan and Ravi Shankar…”:

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“Indian rhythm – and percussive instruments – have attracted musicians and music-lovers across cultures and continents. Indian drums are now heard and seen in virtually every situation: in traditional music, cross-cultural projects, or even in Hollywood soundtracks. Not only does this indicate the capacity of these instruments to adapt to diverse musical situations, but it also speaks volumes about the artistry of the percussionists. The attention that Indian percussion has received in the past few decades has been most heartening – as they have otherwise largely enjoyed secondary status when accompanying traditional Indian music…” (Aneesh Pradhan)

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• Global Rhythmic Systems •

How do other traditions frame their grooves?

—Carnatic Talam (South India)—

Carnatic rhythms are known as talam (‘clap’). Despite sharing deep roots with Hindustani music, South Indian drummers take a distinct approach to dividing up their cycles. Each talam is composed of sections known as angas (‘limbs’: somewhat akin to vibhag), principally including the:

–Anudhrutam (1-clap phrase)–

–Dhrutam (2-clap phrase)–

–Laghu (‘variable segment’ with 3/4/5/7/9 claps)–

Every talam specifies how these angas should be combined, with each having a ‘default’ laghu. For example, rupaka talam is composed of ‘dhrutam + laghu’, or ‘2-beat phrase + variable pattern’, and defaults to the 4-beat chatusra laghu: giving an overall length of (2+4=) 6 beats. Alternatively, laghus of other lengths can be swapped in:

–Tisra laghu (3 claps)–

–Chatusra laghu (4 claps)–

–Khanda laghu (5 claps)–

–Misra laghu (7 claps)–

–Sankeerna laghu (9 claps)–

Changing the laghu does not change the talam’s basic formula – it just alters the ingredients you put into it. For example, ‘sankeerna-jati’ rupaka swaps in the 9-beat sankeerna laghu for the ‘default’ chatusra: rendering rupaka’s ‘dhrutam + laghu‘ formula as ‘2-beat phrase + 9-beat pattern’, extending the length of the cycle from 6 to (2+9=) 11 beats.

 

The ‘Suladi Sapta Tala‘ system plays a similar role for South Indian rhythm as the Melakarta does for melody, providing a defined classification framework to aid the organisation of knowledge. It specifies seven basic ‘talam formulas’ – each of which can take any of the five laghus, giving a total of (7*5=) 35 different talam (‘defaults’ are highlighted in purple):

 

(The Carnatic ‘Suladi Sapta Tala’ system)

To complicate matters, each individual akshara (beat) can in turn be subdivided according to gati (‘speed’). Also known as nadai, this concept ‘slices up’ each beat into identically-sized segments, allowing artists to ‘jump’ between different ‘density levels’ without straying from the underlying cycle. The five subdivisions use the same names as the five laghu (tisra=3, chatusra=4, khanda=5, misra=7, sankeerna=9) – giving a total of (35*5=) 175 rhythms. For example, a musician playing in chatusra gati will feel the groove as 4 notes per beat – while moving to khanda gati will squeeze 5 notes into the same span (also see layakari):

 

 

The cognitive effect of this ‘jump’ is ambiguous: in a way the music has sped up, and in a way it hasn’t. There’s a lot more going on within each beat, but their positions haven’t actually shifted at all – while the stable, steady progression of the basic cycle contrasts with the frantic, odd-numbered streams flowing through it (drummers may also slow the cycle down, e.g. to only 50% or 25% of its original speed: like an ‘inverse’ of gati). And there are many more talam to choose from: including the 108 anga talam (requiring building blocks other than just the dhrutam, anudhrutam, & laghu), plus countless other cycles concocted from folk music to the mathematical imaginings of modern drummers.

 

Carnatic percussionists learn their rhythms using solkattu: a system of onomatopoeic sounds designed to ease the process of internalising complex grooves (literally: ‘a bunch of syllables’) – somewhat akin to the Hindustani bol. Musicians will clap to the underlying cycle while ‘speaking’ the specific drum strokes (such as Ta, Di, Na, and Thom). Konnakol – the vocalised aspect of solkattu – assigns a ‘rhythmic word’ to each number from 1 to 8, which can then be combined to break any rhythm cycle into manageable blocks. These are the essential groupings:

1: ‘Da’
2: ‘Ta-Ka’
3: ‘Ta-Ki-Ta’
4: ‘Ta-Ka-Di-Mi’
5: ‘Ta-Di-Gi-Na-Ka’
8: ‘Ta-Ka-Di-Mi Ta-Ka-Ju-Na’

Subdivisions of 6 and 7 can be handled by adding gaps to the 5-phrase (‘Ta-Di-[-]-Gi-Na-Ka‘ & ‘Ta-[-]-Di-[-]-Gi-Na-Ka‘) – or by combining 3 and 4 (e.g. ‘Ta-Ki-Ta+Ta-Ka-Di-Mi‘). As well as being highly addictive (…trust me!), konnakol offers fine-grained insight into the ‘melody of rhythm’, and into where the true patterns of emphasis lie in a groove. Konnakol can be highly nuanced, but its core concepts are remarkably straightforward. In John McLaughlin’s words: ‘it’s incredibly easy, but it goes to the most sophisticated heights’ (I got started with McLaughlin’s and V. Selvaganesh’s excellent instructional series, The Gateway to Rhythm).

 

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—Adi Talam: 8 beats (Neyveli Venkatesh)—

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“South India is famed for its percussive imagination, with hundreds of rhythm cycles to choose from, and dozens of different drums to play them on…principally including the double-headed mridangam, capable of a vast array of sounds. Crafted from the wood of the jackfruit tree, it anchors the music around it with booming bass thuds and a distinctive high-register bounce. Prototypes were used to accompany Vedic religious ceremonies, and Sanskrit epics such as the Ramayana refer to it by name, describing the ‘mridang-like’ patter of stormclouds. It is said to have soundtracked Shiva’s tandav dance of creation, sent primordial rhythms echoing throughout the heavens…” (from my Carnatic Primer article)

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—Flamenco Compás (Spain)—

Flamenco, originating in Southern Spain’s Andalucia region, combines dance (‘baile’) with rhythmically-charged vocalism (‘cante’) and guitar-led music (‘toque’). The tradition’s ultimate roots remain shrouded in mystery, with many linking its komal-heavy scales to the migration of Roma peoples from Rajasthan to the Mediterranean during the 9th-14th centuries – although it has since absorbed a plethora of influences, ranging from jazz and opera to Sephardic song and Arabic maqam.

 

Flamenco rhythm cycles are known as ‘compás’, most of which have either 12, 4, or 3 beats in each rotation. Many popular grooves are based around a particular 12-beat framework, with inter-beat gaps of ‘3–3–2–2–2’. Here’s the basic 12-pattern, which can be neatly displayed around a ‘clock face’ (n.b. the sequence is ‘symmetric’ along its ‘3-to-9 o’clock’ reflection axis: in similar fashion to how some ragas have ‘g—D mirror symmetry’):

 

(Flamenco’s ‘Compás clock’)

This sequence is treated ‘modally’ – in other words, it can be ‘rotated’ so that the start of the cycle begins on a different beat, while leaving the underlying pattern intact (essentially, the rhythmic equivalent to the melodic idea of ‘murchana‘: rotating a raga’s interval sequence to a ‘new Sa’). Three particular ‘starting points’ have found enduring popularity – beats 12, 1, and 8 – with each being used as the foundation for further percussive intricacy. Here are these three cycles represented as ‘lines’:

 

(‘Compás lines’ from beats 12, 1, 8)

These patterns (along with many others) form the basis for a vast range of ‘palos‘ (sub-styles), each of which calls for its own expressive subtleties – although the fundamental basis of ‘recycling’ the 3-3-2-2-2 sequence ensures an underlying consistency and cross-stylistic coherency. Notably, the three emphasis patterns above are used for:

[12] Bulerías: A complex, multi-layered style from Jerez which often features characteristic breaks (‘cortes’) on its final two beats

[12] Guajiras: Classed as a ‘cantes de ida y vuelta’ (’roundtrip song’) due to its roots in rural Cuban music, dances often feature elaborate fan-twirling

[12] Peteneras: An older lyrical style drawing from zarabanda (‘sarabande’) dance rhythms of ancient North African origin

[1] Alegrías: A major-key, mid-tempo form of flamenco, originating in the 19th-century Peninsula War period of Cádiz

[1] Cantiñas: An alegrias-adjacent group of festive song and dance styles, involving comparatively simple chord progressions

[1] Soleáres: Beats 3/10/12 (from its own starting point) are especially strong, and the pattern is often ‘doubled’ with off-beat claps (‘contratiempos’)

[8] Siguiriyas: Considered by some as a ‘stretched 5’ rather than a strict 12-beat pattern (i.e. ‘1•2•3••4••5•’), and often absent of clapping

See a much fuller selection of over 120 different palos on the Flamenco Export site, including many which take cycles other than 12 (e.g. 4-beat tangos and rumbas) – and learn more in guitarist Kai Narezo’s excellent Flamenco Compás 101 video demo. And for listening links, check out Songlines’ Essential Ten Flamenco Albums, as well as a few of my own personal favourites: The Art Of Flamenco (Carlos Montoya), Paris 1987 (Camarón & Tomatito), Castillo de Arena (Camarón & Paco de Lucía), and Dos Guitarras Flamencas En Stereo (Paco de Lucía & Ricardo Modrego). Also check out my lesson article Flamen-konnakol: ‘Carnaticising’ Paco Pena.

 

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—Alegría (Carmen Amaya)—

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“The cante jondo (‘deep song’), thought to be the oldest form, is characterized by themes of death, anguish, despair, or religious doubt. After the mid-19th century, flamenco song was usually accompanied by guitar and a palo seco (floor-beating stick), and a dancer performing choreographed steps and improvised styles. Baile, or dance, has been the dominant element of flamenco since then, though it is never performed without accompaniment. Essential to flamenco is ‘duende’, an intensely focused, trancelike state of transcendent emotion [n.b. also see sadhana]. It is enhanced by rhythmic hand clapping and encouragement from fellow performers…” (Britannica)

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—Ewe Polyrhythm (Ghana/Togo)—

While the idea of layering two rhythms against each other is far from unique to West Africa, few traditions have applied it with more force than the Ewe drummers of Ghana and Togo. A 5 million-strong ethnic group, Ewe peoples give percussion a central place in community life, with high-volume ensembles accompanying dances, weddings, funerals, and more. In the words of Ewe master drummer C.K. Ladzekpo, “Rhythm is the way we make sense out of a very complex world, of fast-changing emotions, moods, dynamics…”.

 

Ewe polyrhythm revolves around two interrelated fragments of groove. The ‘3:2’ (‘3-against-2’), described by Ladzekpo as the “foundation of our music”, sets a three-beat over a two-beat cycle so that both occupy the same total duration. First, familiarise yourself with the pattern by ear – listen along to the loop, and tap along until you can comfortably maintain the groove. (Hard mode: learn to hold a conversation at the same time: useful, if, like me, you’re going to annoy your housemates by compulsively drumming on the surrounding surfaces…).

 

 

This ‘building block’ is then looped, stretched, cut up, and permuted (somewhat reminiscent of sample-based electronic music). Most notably, it can be ‘doubled’ to form a ‘6:4’ framework [(3+3):(2+2)=6:4] – which can in turn be transformed into a more concise ‘4:3’ pattern by leaving out every second beat (‘–‘) of the 6:4’s faster layer [(6/2):(4) = 3:4]. Tap along to each layer in turn, and then try both together:

 

 

These building blocks are often used to house variants of an idiosyncratic 12-beat sequence known as the ‘Standard Pattern’, often looped on the gankogui bell. Its irregular shape is core to much of Ewe rhythm, which (in similar fashion to flamenco) takes a variety of approaches to ‘stretching’ or ‘displacing’ it against the main pulse. Again, tap along to internalise:

 

 

The pattern has exerted influence far beyond Africa: turning up everywhere from Steve Reich’s Clapping Music (tweaked from ‘• • •• • • •‘ into ‘••• •• • •• ‘: both of which are ‘symmetric‘) to Carnatic classical (mridangist Trichy Sankaran once told me that “In tisra [triple time] I may play the gankogui pattern, which I learned from West African drummers”). Intriguingly, it also matches up with the semitone positions of the Major Scale (=Bilawal Thaat) if ‘transliterated’ to a swara wheel:

 

 

These layerings have profound implications – Ewe hold that polyrhythm’s bifurcated nature represents the inherent tensions of the human condition. In Ladzekpo’s words, “the main scheme [4-layer] is symbolic of your own purpose in life: you’re supposed to be strong, and dynamic…The other beats are obstacles. When we’re growing up, we learn how to manage stress by…crashing beats against each other…Hopefully, if you can manage these tensions, you will manage in life too!”

 

To go deeper, listen to the 1997 album Drums of Death: Field Recordings from Ghana, showcasing a wide range of Ewe and Ashanti funeral rhythms (one of my absolute all-time favourite percussion records…). And let Ladzekpo guide you through more fascinating patterns in the video below, filmed in a multi-part workshop with students in Berkeley (full playlist). Start by just getting into the immediate flow of the sounds (how do they make you want to move?). This is the only route to the music’s inner essences – as he explains, “Ewe drummers don’t think in terms of beats, and numbers, and the mathematical…we hear emotions”.

 

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—Polyrhythmic Principles (C.K. Ladzekpo)—

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“Much of modern music has direct ancestry in the rhythms of Africa. Some are readily apparent – it’s not hard to guess at the geographic roots of Latin American drums, and blues fans are well-aware of the genre’s origins in the spiritual songs of Transatlantic slaves. Blues, in turn, is a parent of rock, jazz, funk, and virtually all other popular styles of the modern era. But much of Africa’s vast imprint still goes unheralded, and the contributions of African musicians are often written out of the history books. How often is it mentioned that that J.S. Bach’s canonic sarabandes have origins in Berber dance rhythms? Or that Brian Eno’s looping electronic experiments were in part inspired by an obsession with powerhouse Nigerian drummer Tony Allen? Or that Indo-African folk-fusion has existed for centuries, created through waves of Bantu migration to the Subcontinent?” (from my West African Rhythms article)

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• Further Learnings •

Onward links for fellow tala explorers…

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• Tales of the tabla: Delving into the wild world of tabla lore brings endless fascination: read some of the oddball tales I’ve unearthed for Ragatip over the past few years – e.g. Anokhelal Mishra’s rags-to-riches rise, Kishan Maharaj’s globetrotting flamboyance, Ram Sahai’s forest-dwelling isolation, Kale Khan’s animal-charming exploits, Lacchu Maharaj’s chilla-drenched grooves, Zakir Hussain’s teenage summer living on the Grateful Dead’s ranch, further instances of mimicry, and a concert demystifier – and (for Darbar) my Twelve Days of Tabla overview, Tihai: Power of Threes breakdown, and interview with Benares khalifa Sanju Sahai – plus a quick blog on striking similarities between tala and jungle/DnB (from which my site takes its name). Doubtless, more will follow…

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• Curious fusion cycles: Why not take the chance to check out some other global rhythmic experiments? Check out my Odd-Time Songwriting article for Guitar World (e.g. Led Zeppelin: 9 as ‘4+4+1‘ Allman Brothers: 11 as ‘3-3-3-2‘, Radiohead: 20 as ‘7-4-5-4‘, and SOTD’s Armenian-infused 9/11/12 cycles) – as well as pianist Tigran Hamasyan‘s multi-layered percussive alchemy, and B.C. Manjunath’s Fibonacci Konnakol composition (‘1-1-2-3-5-8-13-21‘). Also see the first music article I ever wrote (Shakti’s Remainder Bar Rhythms: “A distinctive trick to master irregular grooves…Shakti take a long, often odd-numbered cycle, and divide it into regular-length bars until there isn’t enough space left to play it again: leaving a shorter ‘remainder bar’, which is heavily accented…Examples include 9 as ‘4-4-1‘, 11 as ‘4+4+3‘, 15 as ‘4-4-4-3‘, 20 as ‘8-9-3‘, and 27 as ‘8-8-8-3‘…”).

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—Jazz à Vienne (Shakti, 2004)—

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“From the age of 2 or 3, I’ve been with my best friend: my tabla. My buddy, my best toy in the playpen. With that connection, I did not feel a void of any sort….For me, the tabla was the whole universe, the Milky Way, begging to be explored. If you’ve been doing something for 30, 40 years, you might feel bored. That moment has not arrived yet for me. My relationship with [tabla] is such that I cannot imagine that we will ever tire of each other…The spirit in the instrument has accepted me as a friend, and I am eternally grateful for that privilege. But that hasn’t stopped me from absorbing and assimilating information of all sorts, from all over the planet. In that way, I have grown as a tabla player and, hopefully, made my instrument a bit more universal…” (Zakir Hussain)

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