Comparative Study of Taals (Taalon ka Tulnatmak Adhyan)
- Manjeet Singh
- Apr 1
- 2 min read
Updated: Apr 3
Abstract
The comparative study of Taals, also referred to as "Taalon ka Tulnatmak Adhyan," is a fundamental aspect of Indian Classical Music. This study aims to analyze the structural, rhythmic, and functional differences between various Taals based on parameters such as divisions (Vibhags), claps and voids (Taali-Khali), tempo variations (Laya), practical applications, and compositions associated with each Taal. Despite having the same number of beats, each Taal retains a unique identity in Hindustani and Carnatic music traditions. This paper presents an in-depth comparison of several significant Taals to enhance theoretical understanding and practical application.
1. Jhaptaal & Sooltaal
Jhaptaal:
Beats: 10
Divisions: 2/3/2/3
Taali: 1,3,8; Khali: 6
Type: Mishra Padi Taal
Tradition: North Indian (Hindustani)
Instrument: Tabla
Applications: Khayal, instrumental accompaniment, solo performances, Bhajan Sangeet
Common Tempo: Madhya Laya (Medium Tempo)
Compositions: Peshkar, Kayda, Rela, Tukda, Paran
Sooltaal:
Beats: 10
Divisions: 2/2/2/2/2
Taali: 1,5,7; Khali: 3,9
Type: Sam Padi Taal
Tradition: South Indian (Carnatic)
Instrument: Pakhawaj
Applications: Dhrupad, solo performances
Common Tempo: Madhya Laya (Medium Tempo)
Compositions: Rela, Paran, Padaar, Tihai
2. Ektaal & Chartaal
Ektaal:
Beats: 12
Divisions: 2/2/2/2/2/2
Taali: 1,5,9,11; Khali: 3,7
Type: Sam Padi Taal
Tradition: North Indian (Hindustani)
Instrument: Tabla
Applications: Khayal, instrumental accompaniment, solo performances
Common Tempo: Vilambit Laya (Slow), Madhya Laya (Medium), Drut Laya (Fast)
Compositions: Peshkar, Kayda, Rela, Tukda, Paran
Chartaal:
Beats: 12
Divisions: 2/2/2/2/2/2
Taali: 1,5,9,11; Khali: 3,7
Type: Sam Padi Taal
Tradition: South Indian (Carnatic)
Instrument: Pakhawaj
Applications: Dhrupad, solo performances
Common Tempo: Madhya Laya (Medium Tempo)
Compositions: Rela, Paran, Padaar, Tihai
3. Deepchandi, Jhoomra & Dhamaar
Deepchandi:
Beats: 14
Divisions: 3/4/3/4
Taali: 1,4,11; Khali: 8
Type: Mishra Padi Taal
Tradition: North Indian (Hindustani)
Instrument: Tabla
Applications: Thumri, Hori, folk music
Common Tempo: Vilambit Laya (Slow), Madhya Laya (Medium)
Compositions: Rela, Tukda, Tihai, Laggi
Jhoomra:
Beats: 14
Divisions: 3/4/3/4
Taali: 1,4,11; Khali: 8
Type: Mishra Padi Taal
Tradition: North Indian (Hindustani)
Instrument: Tabla
Applications: Khayal
Common Tempo: Vilambit Laya (Slow)
Dhamaar:
Beats: 14
Divisions: 5/2/3/4
Taali: 1,6,11; Khali: 8
Type: Visham Padi Taal
Tradition: South Indian (Carnatic)
Instrument: Pakhawaj
Applications: Solo, instrumental accompaniment, Hori
Common Tempo: Vilambit Laya (Slow), Madhya Laya (Medium)
Compositions: Rela, Paran, Padaar, Tihai
4. Ada Chautaal & Farodust
Ada Chautaal:
Beats: 14
Divisions: 2/2/2/2/2/2
Taali: 1,3,7,11; Khali: 5,9,13
Tradition: North Indian (Hindustani)
Instrument: Tabla
Applications: Khayal, instrumental accompaniment, solo performances
Common Tempo: Madhya Laya (Medium)
Compositions: Peshkar, Kayda, Tukda, Paran
Farodust:
Beats: 14
Divisions: 2/2/2/2/2/2
Taali: 1,5,9,11,13; Khali: 3,7
Tradition: North Indian (Hindustani)
Instrument: Tabla
Applications: Khayal, solo performances
Common Tempo: Vilambit Laya (Slow), Madhya Laya (Medium)
Compositions: Peshkar, Kayda, Tukda, Paran
Conclusion
The comparative analysis of Taals provides invaluable insights into their distinct rhythmic structures, applications, and cultural significance. While some Taals share the same number of beats, their unique divisions, accents, and traditional uses define their independent identities. Understanding these differences is crucial for students, performers, and scholars of Indian Classical Music. This study serves as a foundational guide for further exploration into the complexities of Taal systems in Hindustani and Carnatic traditions.
Keywords: Comparative Study of Taals, Indian Classical Music, Hindustani Taal System, Carnatic Taal, Rhythm Structure, Tabla, Pakhawaj, Laya, Taali-Khali
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