Two fundamental elements of Indian music are Raag and Taal (raga and tala). First we are going to focus on the Taal part of it. The word ‘Taal’ can be translated as a rhythm or more specifically, a rhythmic pattern. There are many pre-defined Taals in Indian music. All music, when written in rhythm, is written in one or more specific Taals. All Taals are made from ‘boles’ (sounds of Tabla or Murdung). Although every Taal has pre-assigned boles, but ancient scriptures do not mention Boles. So technically, all the sounds in a Taal are changeable and player often customize them. So what is it that makes a Taal distinct from the others?

A Taal is just like a Raag. Everyone sings or plays their own compositions in a Raag but the Raag still remains ‘unbroken’ as long as the basic rules are followed. The same is true for Taals. If the main frame is not tempered with, a Taal does not change by changing the sounds. Taals are based on the Khali-Taali system. As I mentioned earlier on this site that Indian Taals (rhythmic Patterns) are divided into sections. The first beats of these sections give a Taal its distinct flow.

First beat of every section must have one of the following three statuses:

1. Sum: First beat of the first section (or the very first beat of a Taal) has this status. Every Taal has one and only one Sum. Sum is shown as ‘X’ mark on the first beat.

2. Khali: Khali is the opposite of Sum. It is generally in the middle of the Taal. Most Taals have only one Khali but some have more. The word ‘Khali’ means ’empty’. Although the Khali beat is not normally empty of sounds, but lighter boles (sounds of Tabla or Murdung) are played here or a lighter part of the Taal (pattern) begins here and remains that way until the next Taali point. A Khali is shown as an ‘0’ on the first beat of the lighter section of a Taal.

3. Taali: The word ‘Taali’ simply means a ‘clap’. After assigning Sum and Khali, all the other first beats of other sections in the Taal are assigned Taalis. Taalis are shown with numeric numbers (2, 3 etc). Sum (first beat of a Taal), is considered the first Taali and its sign is an ‘X’, so the next Taali is written as No. 2 Taali. Here is an example of ‘Jhup Taal:’

Jhup Taal
10 beats and 4 sections

As we see in the above example that ‘Jhup Taal’ has ten beats and these are divided into 4 sections. If you find ‘Jhup Taal’ in the old scriptures, it would just say that ‘2+3+2+3’ with ‘sum-taali-khali-taali’ (X-2-0-3) status is called Jhup Taal.

So Jhup Taal has:

  a. Three (3) Taalis (on the first, 3rd and 8th beat)

b. One Khali (on the 6th beat)

c. 4 sections of 2+3+2+3

Now lets see that how the boles (sounds) fit in that division. Once you have learned the sounds of Tabla you will see that ‘Dhin’ sound (used on the first beat) is made of two sounds:

Ghe+Tin (left and right hand)

It is like playing a kick and a snare together. Now have a look at the Taalis (clap points). The first, 3rd and 8 the beats have ‘Dhin’ sound on them. So these are heavy accented beats. The Khali Beat (empty point) has the bole (sound) ‘Tin’ played on it. Playing Tin is like playing the snare only. So this beats has a lighter accent. The sounds are repeated twice (5+5) by omitting the sound ‘ghay’ on the 6th beat. This way the Sum and Khali become two opposite poles of the Taal. You can play any other boles by keeping the same thing in mind and the rules of Jhup Taal will not be broken.

Now let’s see another example of another Taal. This Taal is called ‘Sool Taal’. It also has 10 beats but it is very different from Jhup Taal. Have a look:

Sool Taal
10 beats and 5 sections

In this Taal, every other beat is accented and it has two Khalis. This Taal will be shown like this:

2+2+2+2+2 with ‘X-0-2-3-0’ (sum-khali-taali-taali-khali) status.

Indian Rhythm may seem a little different or complicated at first glance, but if you are a drummer or know some drum beats, try to take them apart into sections like a Taal. Find the accented beats and write accordingly. You will see that all the 4/4 patterns you play or hear are not all the same after all. Their accents make them sound different. The sub-sections create a flow and this flow separates a disco beat from a reggae beat. Once you master this concept you will get another creative choice to make to create new patterns.

Now, You can either:

1. keep the accents of a pattern but change the sounds. It would means that you didn’t change the Taal, you are just playing a new version of it. or

2. change the accents by changing the sizes of sections, now you are re-arranging Khali-Taalis. Now you will be playing a new Taal.

A drummer should know accented beats in every rhythm he/she plays. This will increase the improvising ability and the fills will fit together easily. If you make a new pattern and write it keeping Khali-Taalis in mind, you will not lose its feel even coming back to it years later.

Next time we will discuss some rhythmic terms and words.

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