{"id":5879,"date":"2025-07-15T11:46:23","date_gmt":"2025-07-15T11:46:23","guid":{"rendered":"https:\/\/artiumacademy.com\/blogs\/?p=5879"},"modified":"2025-07-16T02:28:02","modified_gmt":"2025-07-16T02:28:02","slug":"understanding-chhanda-theka-tala-and-the-drums-of-india","status":"publish","type":"post","link":"https:\/\/artiumacademy.com\/blogs\/understanding-chhanda-theka-tala-and-the-drums-of-india\/","title":{"rendered":"Understanding Chhanda, Theka, Tala, and the Drums of India"},"content":{"rendered":"\n<p>The evolution of <strong>rhythm and percussion in India<\/strong> has brought it to a point of crystallization that is <strong>unparalleled in the international realm<\/strong> of popular or art music.&nbsp;<\/p>\n\n\n\n<p>It is essential for a <strong>student <\/strong>or <strong>music lover<\/strong> to <strong>understand the logic<\/strong> behind which the <strong>philosophy, structures, grammar, improvisation<\/strong>, and <strong>aesthetics <\/strong>of Indian rhythm and percussion have grown.&nbsp;<\/p>\n\n\n\n<p>The soul of Indian Tala cannot be understood or learned merely from the knowledge or skill development perspective \u2013 as information or technique acquisition. To comprehend the logic of the Indian rhythmic superstructure, internalize it, and grow as a musician or a music lover, one has to understand and develop an <strong>intensely personal experience<\/strong> of rhythm, rhythmic patterns, cycles, grooves, melodic behavior, pulse, and aesthetics.&nbsp;&nbsp;<\/p>\n\n\n\n<p>This article is an attempt to explore <strong>Indian rhythmic thought<\/strong> from the root. It traces the essential paths along which it <strong>evolved from folk roots<\/strong> into the revered and <strong>complex Tala systems<\/strong> and <strong>performance practices<\/strong> of&nbsp; Indian music today.&nbsp;<\/p>\n\n\n\n<p>I have included<strong> several links to performances on YouTube,<\/strong> which will <strong>illustrate various concepts<\/strong>. The reader must view each link, not only to get an <strong>experience <\/strong>of the concepts, but also to be able to<strong> savour the genius of our musical megastars<\/strong> with greater <strong>insight<\/strong>. Happy listening!<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">India \u2013 The Seat of Rhythmic Genius<\/h2>\n\n\n\n<p><strong>Indian Music<\/strong> stands virtually <strong>head and shoulders above<\/strong> any other system on the planet in terms of:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Evolution and crystallization of <strong>rhythmic thought<\/strong>,&nbsp;<\/li>\n\n\n\n<li>The complex <strong>mathematics <\/strong>in rhythmic <strong>composition <\/strong>and <strong>improvisation<\/strong>, and&nbsp;<\/li>\n\n\n\n<li>The unique <strong>language of percussion<\/strong>.&nbsp;<\/li>\n<\/ul>\n\n\n\n<p>India is the <strong>sole creator<\/strong> of <strong>percussion language<\/strong>. The sounds of drums have been <strong>simulated in vocal syllables<\/strong> that can be recited like <strong>text<\/strong>! Concerts of <strong>solo classical percussion,<\/strong> and <strong>percussion accompaniment to classical dance forms<\/strong> like Bharatanatyam, Kathak, Kuchipudi, Odissi, and Mohiniattam are as much <strong>verbal\/vocal<\/strong> as instrumental.<\/p>\n\n\n\n<p>Listen to a short video of <strong>Ustad Zakir Hussain<\/strong> on the <strong>Tabla <\/strong>reciting the syllables and playing them on the tabla.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ustad Zakir Hussain g Solo Tabla ( HIRAN KI CHAAL)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/5m82Kjx8jG4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Now, a video recording of the <strong>Pakhawaj <\/strong>of Ganesh Paran. Percussion compositions have further explored the similarity of percussion syllables with language syllables and have <strong>woven text into percussion compositions,<\/strong> too.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pakhawaj | Krushna Salunke | Ganesh Paran | Percussion Series\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/FTIRfHknTsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Now let us hear verbal percussion in <strong>Bharatanatyam<\/strong>. This is called the art of <strong>Nattuvangam<\/strong>. It is my pleasure to share this unique recording with you, of one of the greatest dancers of Indian history &#8211; <strong>Smt. T. Balasaraswati<\/strong>. This <strong>Varnam<\/strong> was part of a film made on her by none other than <strong>Satyajit Ray<\/strong>. The danseuse was in her late fifties when this was filmed. Just experience the precision of her body movements and how the mridangam, nattuvangam, her movements, and the sounds of her anklets come together as one.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Digitally Remastered | Smt T Balasaraswati &amp; Party I Varnam I Raga Bhairavi I Mohamana I #Bala106\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/HjGbCRMwTp8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Finally, a beautiful Kathak performance by Tanmoyee Chakraborty.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Kathak Dance  | Taal Dhamaar | Tanmoyee Chakraborty.\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/UBYqv21c0Yk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"682\" src=\"https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/India-The-Seat-of-Rhythmic-Genius-scaled.webp\" alt=\"Various Indian Dance Forms\" class=\"wp-image-5885\" srcset=\"https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/India-The-Seat-of-Rhythmic-Genius-300x200.webp 300w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/India-The-Seat-of-Rhythmic-Genius-scaled.webp 1024w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/India-The-Seat-of-Rhythmic-Genius-768x512.webp 768w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/India-The-Seat-of-Rhythmic-Genius-1536x1023.webp 1536w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/India-The-Seat-of-Rhythmic-Genius-2048x1364.webp 2048w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/India-The-Seat-of-Rhythmic-Genius-150x100.webp 150w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">Rhythm and Rhythmic Patterns \u2013 Numbers, Cycles, Metre and Chhanda<\/h2>\n\n\n\n<p>Let us start with understanding <strong>rhythm <\/strong>and <strong>rhythmic patterns<\/strong>.&nbsp;<\/p>\n\n\n\n<p><strong>What is rhythm<\/strong>? Rhythm is a phenomenon where an <strong>event <\/strong>recurs at <strong>regular intervals<\/strong>.&nbsp;<\/p>\n\n\n\n<p>The sound of the <strong>clock <\/strong>is rhythmic, the hooves of a <strong>horse <\/strong>on asphalt are rhythmic, <strong>heartbeats <\/strong>are rhythmic, the <strong>sun <\/strong>rises and sets in rhythm, the <strong>seasons <\/strong>are rhythmic, as are the movements of the <strong>heavenly bodies<\/strong>. Animals have a rhythmic sense. Rhythm is a part of <strong>nature <\/strong>and our <strong>subconscious<\/strong>. We don\u2019t have to learn rhythm; it is part of our <strong>DNA<\/strong>.<\/p>\n\n\n\n<p>If the speed or <strong>tempo <\/strong>of the occurrences <strong>changes<\/strong>, or keeps <strong>gradually changing<\/strong>, technically, the <strong>intervals <\/strong>are <strong>no longer regular<\/strong>. But we still get a <strong>sense of rhythm<\/strong>. Speed or tempo is referred to as \u2018<strong>Laya<\/strong>\u2019 in India, a Sanskrit word that has come to be used in all Indian languages, including Tamil which is believed to have an origin independent of Sanskrit.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Nuclei of Tala \u2013 Rhythm and Numbers<\/h2>\n\n\n\n<p>The next concept we need to recognize is our <strong>natural relationship with numbers.<\/strong> From primordial times, man has developed a sense, need, and a system of <strong>counting<\/strong>. It is our nature, although we learn it as part of education. <strong>The human sense of numbers will help us understand the evolution of rhythmic patterns.<\/strong>&nbsp;<\/p>\n\n\n\n<p>A <strong>rhythmic pattern<\/strong> is a repetition of two or more <strong>closely clustered events<\/strong> that, in turn, are at <strong>precise intervals<\/strong>.&nbsp;<\/p>\n\n\n\n<p>The most familiar rhythmic patterns are the <strong>systolic and diastolic patterns<\/strong> of our heartbeats, and the <strong>tick-tock<\/strong> of a grandfather clock.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Rhythm and Numbers in Literature &#8211; Chhanda<\/h2>\n\n\n\n<p>A <strong>pattern<\/strong> is formed by a set of <strong>multiple rhythmic events<\/strong> (in time) only if the events (the sounds) are of <strong>distinguishable character<\/strong>. And this pattern is also called a <strong>metre<\/strong>. One finds metres in <strong>poetry<\/strong> and Indian literature. They are called <strong>Chhanda<\/strong>-s.&nbsp;<\/p>\n\n\n\n<p>We will discuss the chhanda-s of literature in another article. In <strong>language<\/strong>, there are <strong>two<\/strong> broad ways of creating meters \u2013 by <strong>accents<\/strong> (hard and soft) and by sequencing <strong>long and short<\/strong> syllables. <strong>Sanskrit chants<\/strong> are patterned on the basis of <strong>repetitive sequences <\/strong>of<strong> long and short syllables<\/strong>.&nbsp;<br>Yet, in recitation, the <strong>hard\/soft<\/strong> accenting becomes <strong>inevitable<\/strong>. Let us listen to <strong>Vishnu Sahasranamam<\/strong> chanted by <strong>Bharat Ratna M. S. Subbulakshmi<\/strong>. Notice how the chants are set to a rhythmic pattern (in this text largely <strong>Anushtup Chhanda<\/strong>).<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Vishnu Sahasranamam - M.S.Subbulakshmi\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/ATflA6WOy0I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>At some point in human evolution, <strong>thought<\/strong> <strong>evolved into<\/strong> <strong>language<\/strong>. Thought precedes language, as we can see in every child. It is believed that <strong>musical realization<\/strong>, or the recognition of notes, ran <strong>parallel to the evolution of language<\/strong>. Some believe that music preceded language.&nbsp;<\/p>\n\n\n\n<p>Once language evolved, matured, and became a canvas for creativity, <strong>man\u2019s sense of numbers and rhyming led to the germination of poetry,<\/strong> which was <strong>not seen as distinct from song<\/strong>. To date, in Mushairas and Kavi Sammelans, i.e., soirees of poets, <strong>poems are presented by poets as songs<\/strong>, some not very much in tune, but with perfect metre.&nbsp;<\/p>\n\n\n\n<p>India particularly had such a penchant for poetry and song that the entire body of ancient literature\u2014ranging from liturgy, philosophy, medicine, astronomy, astrology, theatre, and dance\u2014has been expressed in poetic form.&nbsp;<\/p>\n\n\n\n<p>The <strong>crystalline literature <\/strong>in Sanskrit, Tamil, Prakrit, and other languages has <strong>survived<\/strong> through a strict <strong>oral training system backed by a documentation system<\/strong>. But most of the vast <strong>literature of life<\/strong> that householders, elders, teachers, creative individuals, and thought leaders in ancient societies would have composed, capturing knowledge, wisdom, insights, advice, and admonitions for the purpose of grooming youngsters and advising future generations, naturally <strong>keeps disappearing with the passage of time<\/strong>.&nbsp;<br>However, the glorious phenomenon of the chants of India reveals that song <strong>composition, music, rhythm, metre,<\/strong> and<strong> rhyme<\/strong> are very <strong>ancient Indian sensibilities<\/strong>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Tala \u2013 The Device for Keeping Count and Time<\/h2>\n\n\n\n<p>Now, let us search for a <strong>simple idea of<\/strong> what <strong>Tala<\/strong> is. Swaying to the rhythm of a song is something even a one-year-old child does. So, <strong>\u2018keeping time\u2019 with the claps of the hands <\/strong>is perhaps the most ancient and <strong>rudimentary expression of Tala<\/strong> in man.&nbsp;<\/p>\n\n\n\n<p>In concerts or private soirees, listeners sometimes <strong>clap hands in sync with the rhythm of the song<\/strong>. This simple and almost instinctive \u2018keeping to the beat\u2019 in the song, <strong>or with the regular accents in rhythm accompaniment<\/strong>, is an expression of our <strong>Tala instinct<\/strong>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Language of Indian Percussion and Theka \u2013&nbsp; The Groove&nbsp;<\/h2>\n\n\n\n<p>The <strong>root of Indian rhythmic sensibility<\/strong> starts with <strong>drum accompaniment<\/strong> to song \u2013 the typical groove of Indian percussion instruments called \u2018<strong>Theka<\/strong>\u2019. Listen to the very popular Theka that is very suitable for devotional music. Each Theka has a particular \u2018feel\u2019.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\ud83d\ude0d\ud83c\udfbc\ud83d\udc49\ud83c\udffbBHAJNI THEKA ||TABLA|| 170BPM||\u2764\ufe0f\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/IglBrk4RfLk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>In Western Music, all <strong>grooves <\/strong>that you hear on percussion instruments, on rhythm and bass guitars, or a piano as accompaniment to songs are <strong>rhythmic patterns<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Easy Groove Backing Track in A minor\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/einl3CzAp1E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>In India, the groove was the Theka<\/strong> \u2013 played on percussion instruments that were largely drums with animal skins stretched on one or both sides to create a drumming surface. The <strong>specialty <\/strong>of <strong>Indian drums <\/strong>is that the <strong>drum sounds undulate and swing from one beat to the next <\/strong>by pressing on the drum surfaces to create <strong>frequency variations<\/strong>.<\/p>\n\n\n\n<p>This technique allows for the creation of <strong>a<\/strong> <strong>number of sounds<\/strong> from instruments that have come to be <strong>simulated in verbal sounds<\/strong> in classical percussion \u2013 dha, dhin, ghe, ti, ra, ti, ta etc. These individual sounds <strong>cluster together <\/strong>to give <strong>patterns<\/strong> like tirakita, dhirakita, to name a few. So, it\u2019s like <strong>syllables forming words, words weaving into sentences, and sentences weaving into oratory<\/strong>.&nbsp;<\/p>\n\n\n\n<p>We are lucky to have access to a <strong>rare recording<\/strong> of <strong>Bharat Ratna Pt. Ravi Shankar<\/strong>, giving a lecture demonstration in the West way back in the 1960s. In this, <strong>Ustad Allah Rakha<\/strong> demonstrates a variety of aspects of percussion, including:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The <strong>undulations <\/strong>on the left drum surface<\/li>\n\n\n\n<li>The percussion <strong>phonemes <\/strong>and <strong>syllables<\/strong>, along with their <strong>verbal correlates<\/strong><\/li>\n\n\n\n<li>How the syllables weave into <strong>phrases <\/strong>and an <strong>essay<\/strong>.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ravi Shankar, Alla Rakha - Tabla Solo in Jhaptal\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/Joyk_EMtzn0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"682\" src=\"https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/Ustad-Zakir-Khan-scaled.webp\" alt=\"Ustad Zakir Khan\" class=\"wp-image-5888\" srcset=\"https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/Ustad-Zakir-Khan-300x200.webp 300w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/Ustad-Zakir-Khan-scaled.webp 1024w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/Ustad-Zakir-Khan-768x512.webp 768w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/Ustad-Zakir-Khan-1536x1023.webp 1536w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/Ustad-Zakir-Khan-2048x1364.webp 2048w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/Ustad-Zakir-Khan-150x100.webp 150w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>Listen now to a short and then a full-fledged<strong> percussion concerto <\/strong>by the celebrated<strong> Ustad Zakir Hussain <\/strong>on the<strong> tabla<\/strong> \u2013 an artist who brought Indian drums, percussion, and the tabla to the international center stage. <strong>His tabla literally spoke, cooed, and sang<\/strong>&nbsp; \u2013 sometimes coquettishly, mischievously, sometimes with gravitas and grandeur.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"ustad zakir Hussain excellent performance\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/c5-OPu32TSY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ustad Zakir Hussain ~ 1985 Doordarshan Recital ~ HD\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/hvCnYcXGqYM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Theka<\/strong><\/h3>\n\n\n\n<p><strong>But let\u2019s get back to our groove \u2013 the Theka.<\/strong> Many of us would have seen how, in an informal musical soiree amongst friends, a person volunteers to accompany the song on the seat of a stool, or even a small table or an inverted plastic bucket! <strong>The song doesn\u2019t feel complete without this groove<\/strong>, which is how it was from ancient times.&nbsp;<\/p>\n\n\n\n<p><strong>The groove does two things<\/strong> \u2013 it gives us the <strong>rhythmic pulse<\/strong> that is vital to make the song vibrant. It also <strong>helps keep the singer in rhythm<\/strong>; it acts as the <strong>time-keeper<\/strong>. When one understands these <strong>two root functions of rhythmic accompaniment<\/strong> to music, one will understand the entire monolith of Indian tala systems. We will also get an understanding of Tala-s, percussion instruments, percussion language, percussion accompaniment, and solo \u2013 everything there is to know about Indian rhythms.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">From Theka to Tala \u2013 A Journey of Rarefaction and Discovery<\/h2>\n\n\n\n<p>A critical point to notice is that when a pattern is repeated, the groove <strong>CYCLES BACK <\/strong>to the first sound of the pattern. AND HERE LIES THE <strong>ROOT <\/strong>OF THE CONCEPT OF <strong>TALA<\/strong>.&nbsp;<\/p>\n\n\n\n<p><strong><em>ANY TALA IS A <\/em><\/strong><strong><em>RHYTHMIC CYCLE INTO WHICH THE LINES OF A SONG CAN FIT.<\/em><\/strong><em> <\/em><strong><em>THE<\/em><\/strong><strong><em> REPETITION <\/em><\/strong><strong><em>OF EACH CYCLE IS CALLED AN<\/em><\/strong><strong><em> AVARTHAN.<\/em><\/strong><\/p>\n\n\n\n<p><strong>Various tala-s<\/strong> are composed (or evolve from theka-s) with <strong>different numbers of units.<\/strong> These units are called <strong>Matra-s<\/strong> in the Hindustani System. In the Carnatic system, the term <strong>kriya-s<\/strong> (actions) would be appropriate but has gone out of currency and has been replaced by <strong>\u2018beats\u2019<\/strong> or simply \u2018units\u2019 in current day informal terminology.&nbsp;<\/p>\n\n\n\n<p>Sometimes the term <strong>\u2018askhara-s\u2019<\/strong> is used to denote units of Tala, which I feel is erroneous. Akshara (literally alphabets) ideally denotes subdivisions within units, which can be of different numbers \u2013 3, 4, 5, 7 and 9. These will be discussed in detail under the Carnatic Tala System. Terminology grows through a lot of give and take between the streams of formal grammatization and the oral tradition which tends to informally devise terms that come into currency. So terminology can often confuse, but that is perfectly fine. A separate discussion on this could be interesting.&nbsp;<\/p>\n\n\n\n<p>Let us look at the root of how <strong>Theka evolved into Tala<\/strong>. Let\u2019s listen to a <strong>folk song <\/strong>from <strong>Chhattisgarh <\/strong>in Central India. This will give us a view of how the groove\u2014the theka\u2014plays its part as a <strong>rhythmic foil<\/strong> to the <strong>pulse <\/strong>within the song.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\u092e\u094b\u0930 \u092d\u093e\u0916\u093e \u0938\u0902\u0917 \u0926\u092f\u093e \u092e\u092f\u093e \u0915\u0947 Original Song Kedar Yadav\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/nb3Qrh8xgo4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Now listen to a popular folk song that has been absorbed into <strong>light classical music<\/strong> \u2013 <strong>Rangi Sari Gulabi Chunariya.<\/strong>&nbsp; In this performance, the <strong>Dadra Theka<\/strong> of 6-beats <strong>serves as a typical groove<\/strong>. But it also <strong>enables the artist to indulge in flights of fancy<\/strong> beyond the script of the song.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Maithili Thakur \u0915\u0940 \u0906\u0935\u093e\u091c\u093c \u092e\u0947\u0902 \u0938\u0941\u0928\u093f\u090f Rangi Saari Gulabi Chunariya Dadra\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/J33o28473Uk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>The <strong>Theka keeps everything together<\/strong> \u2013 the accompanying artists, the co-singers, and the singer\u2019s small improvisations. However, the pulsating quality of the song and the Theka resonate with each other to give us a <strong>composite experience<\/strong>.&nbsp;<\/p>\n\n\n\n<p>Now listen to a <strong>slower performance of the same number<\/strong>. Here, the Theka <strong>starts losing its pulsating quality<\/strong> to serve just as a foil, and begins to serve more as a <strong>time keeper<\/strong> for the more elaborate improvisations of the singer. Dadra Theka transforms into Dadra Tala. The singer, the famed Thumri exponent, <strong>Smt. Shobha Gurtu<\/strong>, exhibits her ability to<strong> melodically improvise, departing from adherence to the Theka (Tala)<\/strong>, and <strong>returning to it at pre-determined points<\/strong>. (In <strong>Hindustani <\/strong>Music, this point is the <strong>\u2018Sam<\/strong>\u2019, the <strong>first unit of the Tala<\/strong>, and in <strong>Carnatic <\/strong>Music, this point is the <strong>\u2018Eduppu\u2019<\/strong>, the point where the <strong>first syllable of the line, which is being improvised upon<\/strong>, begins in the <strong>original compositional structure<\/strong>.)<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Rang Sari Gulabi Chunariya | \u0930\u0902\u0917 \u0938\u093e\u0930\u0940 \u0917\u0941\u0932\u093e\u092c\u0940 \u091a\u0941\u0928\u0930\u093f\u092f\u093e | Shobha Gurtu | Hindustani Classical Music\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Z5sPYLdWbJc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Next &#8211; a number by the <strong>Queen of Ghazal,<\/strong> <strong>Begum Akhtar,<\/strong> in the same Theka but at a <strong>very slow pace<\/strong>. The Theka almost <strong>completely loses the pulsating quality<\/strong> and takes on almost entirely the role of <strong>keeping track of the units<\/strong> of the cycle. The <strong>synchronization <\/strong>of the <strong>melodic improvisation<\/strong> with the <strong>rhythmic cycle<\/strong> now becomes even more <strong>challenging<\/strong>. This compositional form, which is set to <strong>Dadra Tala<\/strong>, is called a <strong>Dadra<\/strong>. Dadra-s can be set to <strong>Keherwa Tala<\/strong> of 8 matra-s also.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Chaa Rahi Kaali Ghata, (Live) Begum Akhtar Sahiba (1957)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/NDhNDa9996g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Now listen to the same composition by <strong>Smt.<\/strong> <strong>Kishori Amonkar<\/strong>. This artist has <strong>further reduced the tempo<\/strong> of the rendition, and one can hardly make out the original pulse of the Theka. The artiste, renowned for her incredible, slow-paced creative improvisation, has demonstrated how the <strong>Theka now completely plays the role of a Tala<\/strong>. The artist&#8217;s melodic improvisation comes across as <strong>free-flowing<\/strong> and <strong>non-rhythmic<\/strong>, but that is not so. <strong>She is in sync with the flow of the slow Theka in a manner that will take either guided listening or actual training to be able to appreciate.<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Kishori Amonkar: Des | Thumri | chhaa rahii kaalii ghaTaa | \u091b\u093e \u0930\u0939\u0940 \u0915\u093e\u0932\u0940 \u0918\u091f\u093e\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/sQ4Pqq_57QM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">How did this Evolution of Tala from Theka Happen?&nbsp;<\/h2>\n\n\n\n<p><em>Well, there are no historical records of this process that I know of. Still, a bit of commonsensical analysis will not only give us the possible reason but also give us valuable insights into our personal relationship with music and rhythm as students of music or as passionate music lovers.<\/em>&nbsp;<\/p>\n\n\n\n<p>The <strong>evolution of music<\/strong> happened along many dimensions \u2013 e.g. the <strong>expansion of possibilities in consonance<\/strong> that led to polyphony on one hand, leading to the grand symphonies, and Raga on the melodic side.&nbsp;<\/p>\n\n\n\n<p>One of the paths of exploration is the <strong>reduction of the tempo<\/strong> of any musical idea, which enables the exploring mind to <strong>rarefy the integrity<\/strong> of any piece and <strong>discover depth<\/strong> in it. (<strong>Rarefication<\/strong> is the process of <strong>stretching something across space or time<\/strong> to make it finer, more delicate, like <strong>stretching opaque material<\/strong> till it becomes <strong>translucent<\/strong>.) This is the root of how the extremely slow<strong> Vilambit Khayal<\/strong> and <strong>Nom Tom Alaap <\/strong>evolved. It is also the root of the extremely slow movements in Symphonies, which require a lot of culturing in the idiom for a listener to appreciate.&nbsp;<\/p>\n\n\n\n<p>Through rarefication emerged a <strong>second aspect<\/strong> which further powered the <strong>evolution of Tala<\/strong> &#8211; the oceanic realm of <strong>rhythmic mathematics<\/strong>, which is called <strong>Layakari <\/strong>in Hindustani Music. With the evolution of <strong>\u2018keeping time\u2019 moving from<\/strong> the pulse of repetitive rhythmic patterns (<strong>Theka<\/strong>)&nbsp; to <strong>an extended cycle<\/strong> delineated by actions of the hands (<strong>Tala<\/strong>), <strong>keeping track of the lengths of cycles<\/strong> evolved from the <strong>instinctive <\/strong>level more towards <strong>conceptual <\/strong>level. Simply put, <strong>keeping count became a more conscious craft <\/strong>, and this opened the door for <strong>conscious arithmetical computations within cycles<\/strong>. In other words the power of creativity and improvisation could enable the Indian musical mind to savour the excitement of <strong>departing from the confines of the cyclic canvas and returning to it with mathematical sense, planning, complexity and precision, rather than instinctual sense.<\/strong> Simple departures and resolutions (that we could witness in Mythili Thakur\u2019s performance) evolved over generations into <strong>complex possibilities<\/strong> that caused larger tala cycles like the obsolete Simhanandana Tala of 108 units to evolve. <strong>Keeping track of the Tala in improvisation emerged as a central aspect of aesthetics. Creating and timing improvisational passages within strict durations in the Tala cycle became basic creative feats.&nbsp;<\/strong><\/p>\n\n\n\n<p>This is the <strong>edifice of rhythmic play<\/strong> in Indian Classical Music. <strong>Improvisation <\/strong>within the rhythmic cycle can be essentially <strong>melodic<\/strong>, or an <strong>amalgam of melodic and rhythmic<\/strong> thought. &nbsp; Within the latter, <strong>complex arithmetic<\/strong> has come to play a <strong>significant <\/strong>part &#8211;&nbsp; in the form of <strong>tihai-s<\/strong>, <strong>chakradhar tihai-s<\/strong>, (Hindustani system) <strong>teermanam-s<\/strong>, <strong>korvai-s<\/strong> and <strong>mohra-s<\/strong> (Carnatic system). Essentially these are improvised passages that are <strong>repeated thrice<\/strong>, and <strong>timed and spaced out so precisely<\/strong> that the <strong>return to the original tala<\/strong> arrangement as composed, is <strong>bang on<\/strong>. These will be dealt at length in subsequent articles.<\/p>\n\n\n\n<p><strong>Carnatic Music<\/strong> particularly has taken the <strong>aesthetics of Thalam<\/strong> (Tala) to a <strong>unique level<\/strong>. In all the earlier examples of Shobha Gurtu, Begum Akhtar and Kishori Amonkar that we heard, the improvisation was almost non rhythmic. <strong>Carnatic Music melodic improvisation within the Tala structure is always rhythmic<\/strong>. (<strong>Non rhythmic<\/strong> melodic improvisation happens in <strong>Alapana <\/strong>and <strong>Viruttam <\/strong>&#8211; as we shall see in a later article.)&nbsp;<\/p>\n\n\n\n<p>Listen now to <strong>Kalpana Swaram<\/strong>. A set of Carnatic musicians are \u2018jamming together\u2019 perhaps as part of a Seminar, creating <strong>improvisational passages<\/strong> in Swarams, in <strong>Adi Thalam of 8 units<\/strong>. Each artist creates an idea and then picks up the line of the composition at the exact place in the original composition. The line starts at a distance of \u20183\/4th of one unit\u2019 from the first beat of the Thalam.&nbsp; Notice how the <strong>Tala becomes the playing ground for calculations<\/strong> of lengths of improvisational ideas to be able to complete an idea effectively and pick up the line &#8211; a <strong>central aspect of improvisational aesthetics<\/strong> in Indian Classical Music.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"a short clip of &quot;sara vedi&quot; kalpana swarams in rAgA vasanthA ......\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/1lx5Aygfjxk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Now let us understand how the Carnatic music performers in this video were <strong>keeping Tala with their hands<\/strong>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Building Blocks of Tala-s<\/h2>\n\n\n\n<p><strong>How do performers keep track of the flow of a tala<\/strong>? By a variety of <strong>actions of the hand<\/strong>. In the times when Simhanandana tala was prevalent, a variety of hand actions were in practice.&nbsp;<\/p>\n\n\n\n<p>Now, through waves of simplification (also a natural process in the history of any art where excessive intellectualism gets edged out by simpler performance practices with wider appeal to the heart than the intellect), today just <strong>3 categories of actions survive between the Hindustani and Carnatic systems<\/strong>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>A beat on the right thigh (or left palm) with the right palm,&nbsp;<\/li>\n\n\n\n<li>A wave into the air or a beat with the back of the right hand on the thigh (or left palm), and&nbsp;<\/li>\n\n\n\n<li>Counting fingers from the little finger onwards. We shall see these in great detail in another article.<\/li>\n<\/ul>\n\n\n\n<p>In the video, the artists were improvising in <strong>Adi Thalam of 8 units<\/strong>, that are demarcated as follows :<\/p>\n\n\n\n<p>1 Beat 2 Little finger 3 Ring Finger 4 Middle Finger 5 Beat 6 Wave 7 Beat 8 Wave.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"682\" src=\"https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/The-Building-Blocks-of-Tala-scaled.webp\" alt=\"Students learning music in Indian Music Class\" class=\"wp-image-5891\" srcset=\"https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/The-Building-Blocks-of-Tala-300x200.webp 300w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/The-Building-Blocks-of-Tala-scaled.webp 1024w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/The-Building-Blocks-of-Tala-768x512.webp 768w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/The-Building-Blocks-of-Tala-1536x1023.webp 1536w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/The-Building-Blocks-of-Tala-2048x1364.webp 2048w, https:\/\/artium-v2-blogs.s3.ap-south-1.amazonaws.com\/wp-content\/uploads\/2025\/07\/The-Building-Blocks-of-Tala-150x100.webp 150w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<h3 class=\"wp-block-heading\">Theka as Tala in Hindustani Music<\/h3>\n\n\n\n<p>In the<strong> khayal and thumri<\/strong> performance genres, which are the core of current-day popular Hindustani Classical Music, <strong>Theka-s take on the role of Tala-s<\/strong>, unlike in the Carnatic system. But in the more archaic <strong>Dhrupad <\/strong>system of Hindustani Music and <strong>Carnatic Music<\/strong>, marking <strong>Tala by the hand is the performance practice<\/strong> and an <strong>integral part of training<\/strong> from the word go.&nbsp;<\/p>\n\n\n\n<p>It must be mentioned, however, that <strong>in the exacting training systems of the Hindustani music khayal gharanas <\/strong>by great performers, <strong>students<\/strong> of Khayal are taught not only to <strong>mark the tala with their hands<\/strong>, irrespective of the presence or absence of percussion accompaniment, but are <strong>also taught to play the tabla<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Singer Arijit Singh playing Tabla | Rare Video\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/hCisyUVzcok?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ustad Rashid Khan Playing beautiful Laggi on Tabla.\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/7rVx3_oljIQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>IN THE AUTHENTIC GHARANA SYSTEM, STUDENTS ARE <strong>TRAINED TO PRACTICE COMPOSITIONS WHILE PLAYING THE THEKA ON A PERCUSSION INSTRUMENT<\/strong>.<\/p>\n\n\n\n<p><a href=\"https:\/\/youtube.com\/shorts\/vE8ejrWUdcw?si=s6zLI63lwzUQZVuW\">Ustad Rashid Khan Ji || Playing tabla With His Son || Last Meating, RIP Ustad Ji. #rashidkhan &#8211; YouTube<\/a><\/p>\n\n\n\n<p>Let\u2019s now look at another Tala. <strong>Teental, which has 16 units<\/strong>, is the most popular Tala in Hindustani Music. This Tala has <strong>four sections <\/strong>(called vibhaga-s or Khand-s) of <strong>four units (percussion syllables) each<\/strong>. Dha Dhin Dhin Dha, &nbsp; Dha Dhin Dhin Dha, &nbsp; Dha Thin Thin Tha, &nbsp; Tha Dhin Dhin Dha. (If the Tala is demarcated by the hand, only the four vibhaga-s will be marked as follows :&nbsp;<\/p>\n\n\n\n<p>1 Beat&nbsp; 2 Beat&nbsp; 3 Wave&nbsp; 4 beat<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Taal Teen Taal (16 bests) - \u0924\u093e\u0932 \u0924\u0940\u0928 \u0924\u093e\u0932 (16 \u092e\u093e\u0924\u094d\u0930\u093e)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/YRNO1wZUODc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\u0924\u0940\u0928 \u0924\u093e\u0932 16 \u092e\u093e\u0924\u094d\u0930\u093e | Teentaal 16 Beats Variations | Tabla | Ankit Kashyap Tabla | Classical Music\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/iGg_fBXAttA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Theka as Groove and Theka as Tala<\/h3>\n\n\n\n<p>Let us first experience how <strong>Theka<\/strong> plays a role in <strong>giving the resonant energy to the rhythm<\/strong> in the music. We will listen to a variety of Hindustani classical music pieces \u2013 both instrumental and vocal. In these fast pieces, the <strong>Theka<\/strong>, while serving as a time-keeper and coordinator for the brilliant improvisation, <strong>can be experienced as a groove<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Rashid Khan | Yaman | \u0906\u0913 \u0906\u0913 \u0906\u0913 \u092c\u0932\u092e\u093e | aao aao aao balmaa\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/k_gyP04cOuA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Ustad Amjad Ali Khan<\/strong> -&gt;<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gat In Drut Teental\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/epv1xMtSnt8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Raga Megh ~ Vidushi Begum Parveen Sultana &amp; Ustad Faiyaz Khan ~ 1985 Doordarshan\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/25mkai8-xGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>Ustad Vilayet Khan &#8211; Sitar -&gt;<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Raga Lalit: Drut Gat In Teental\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/8zf87NPk5hg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pt Shiv Kumar Sharma | Santoor|  Puriya | Drut TeenTaal\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/pziVw03e1GM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Now the <strong>same tala and Theka is stretched out into its Vilambit (slow) version.<\/strong> In this mode, the Theka no longer gives us the feel of a groove. It <strong>becomes a mode of marking the tala through the syllables of the Theka<\/strong> rather than actions of the hand.<\/p>\n\n\n\n<p><strong>Smt. Kishori Amonkar -&gt;<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Raga Miyan Malhar: Karim Naam Tero in Vilambit Teen Taal, Pt. 1\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/La1hhQT7xj4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>Pt. Ravi Shankar -&gt;<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Raga Rasiya - Vilambit Teentaal Rasiya - Gat Vilambit Teentaal\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/4Vk7Ny7XaHg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>However, you will also notice that the percussionist does not only mark the Theka. He <strong>embellishes the flow of the Theka with innumerable, delectable percussion phrases<\/strong> that give us a <strong>composite experience<\/strong> along with the music of the main performer. In the case of <strong>Carnatic music<\/strong>, you can see how the <strong>percussion<\/strong> accompanist (<strong>mridangam<\/strong>, along with a <strong>ghatam<\/strong> and\/or <strong>kanjira<\/strong> in some cases) <strong>embellishes the tala cycle with innumerable creative percussion phrases<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Aruna Sairam | Kalinga Nartana Tillana | Carnatic Vocal\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Sjg5-2etoZ8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>In <strong>Carnatic music<\/strong>, you will also notice interestingly that the <strong>accompanist often fills the spaces in the Tala with what sounds like a fast Theka<\/strong>. Listen to a rendition of a composition in <strong>Adi Thalam <\/strong>by Sh.Sanjay Subramanian. In this video you can easily see the vocalist marking the 8 units of the Tala with his hands, and how the percussionist is filling up each of the 8 spaces with <strong>patterns that are very similar to a Theka<\/strong>. In fact, in Carnatic music terminology, this particular embellishment is called a \u2018<strong>teka\u2019<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\u0c2c\u0c02\u0c1f\u0c41 \u0c30\u0c40\u0c24\u0c3f (Bantureethi - Hamsanadam) Sanjay Subrahmanyan (Live)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ewX_VxXfo60?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>So this underscores the fact that <strong>a song needs a groove as a foil<\/strong> to give a composite experience of melody and rhythm. The <strong>Carnatic and Hindustani Music Tala Systems<\/strong> will be discussed in detail in different articles.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Syncopation Skills<\/h3>\n\n\n\n<p>Rhythmic Improvisation in Indian Music is based on <strong>three skill sets <\/strong>of the musician:&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The ability to improvise by <strong>departing<\/strong> <strong>from the composition<\/strong> that is fixed in the Tala structure, and <strong>returning<\/strong> to it with ease and precision. (This is the fundamental skill that is inculcated in students of classical music).&nbsp;<\/li>\n\n\n\n<li><strong>Mathematical<\/strong> computation skills and<\/li>\n\n\n\n<li><strong>Syncopation<\/strong> skills&nbsp;<\/li>\n<\/ul>\n\n\n\n<p><strong>Syncopation<\/strong> skill is the ability of a musician to sing or play at a <strong>tempo or pulse that is at variance<\/strong> with a tempo or pulse in the <strong>Tala<\/strong> or percussion.&nbsp; For example, the percussion is flowing in <strong>pulses of 4<\/strong> and the singer is belting out taans or swara-s in <strong>clusters of three or five notes<\/strong>, in the <strong>same tempo<\/strong>.&nbsp;<\/p>\n\n\n\n<p><strong>Another type of syncopation<\/strong> would be where <strong>the pulses of the percussion and the vocalist or instrumentalist are in contrasting tempi. <\/strong>This type of syncopation is actually the one that genuinely qualifies for the term <strong>\u2018Layakari\u2019<\/strong>. Let us go back to the lecture demonstration by <strong>Pt. Ravi Shankar<\/strong> and <strong>Ustad Allah Rakha<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ravi Shankar, Alla Rakha - Tabla Solo in Jhaptal\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/Joyk_EMtzn0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>It is a rare opportunity for us to see Pt. Ravi Shankar marking <strong>Jhaptal of 10 units<\/strong> with his hands and Ustad Allah Rakha flying off into cascades of improvisation, often in <strong>contrasting tempi<\/strong>. (Note : While Jhaptal is a 10 unit cycle, only 6 hand actions, each marking 1 or 2 time units,&nbsp; are used to delineate it : 2+1+2+2+1+2 = 10.)<\/p>\n\n\n\n<p>Listen to a concert piece in <strong>Jhaptal<\/strong>. The main instrument is the <strong>Santoor<\/strong>, played by <strong>Pt. Shivkumar Sharma<\/strong>. The main artist and percussionist take turns in marking the Tala and improvising, as you will see. When the Santoor maestro improvises, the Tabla maestro plays the Theka. When the Tabla maestro improvises, the Santoor maestro plays the composition as a Tala marker. <strong>Both maestros infuse a number of variations that are in tempi contrasting to the pulse of the Theka<\/strong>.&nbsp;<strong>Pt. Shivkumar Sharma<\/strong> was a <strong>master percussionist<\/strong> too. His concerts, while utterly melodious and aesthetic, were replete with brilliant rhythmic <strong>syncopation<\/strong>. This concerto in the <strong>Raga Bhimpalasi<\/strong> is a wonderful<strong> tapestry of melodic and rhythmic improvisation<\/strong> that is ultimately so musical and alluring.<\/p>\n\n\n\n<p><strong>Pt. Shivkumar Sharma<\/strong> <strong>-&gt;<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Raga Bhimpalasi - Gat in Jhaptal\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/SmvmsuqU0cI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Tala Vadya Kutcheri&nbsp;<\/h3>\n\n\n\n<p>Rhythmic <strong>improvisation<\/strong> in Indian Music is a <strong>master science<\/strong>. Subsequent articles by different experts will expound on different techniques, methods, and styles.<\/p>\n\n\n\n<p>The <strong>piece de resistance of Indian percussion art<\/strong> is the <strong>Tala Vadya Kutcheri<\/strong>. Originally a feature of Carnatic Music, today Jugalbandi-s between Hindustani and Carnatic artists have become popular. Listen to a <strong>percussion concerto<\/strong> by artists from both systems. In this performance one can witness the <strong>entire gamut of the genius of Indian Rhythm<\/strong> &#8211; from the <strong>language of percussion<\/strong> to the magical <strong>mathematics and aesthetics of improvisation<\/strong> within the confines of the Tala canvas.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Taal Vadya Kacheri | Amit Kavthekar (Tabla) | Vijay Ganesh (Mridangam) | Sowmiya Narayana (Ghatam)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/kR2gfFaNoQ4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Summary<\/h3>\n\n\n\n<p>The <strong>Art and Science of Rhythm <\/strong>of India, the <strong>most evolved system<\/strong> in the world, which finds its most crystalline development in our<strong> Indian Classical Music<\/strong> systems, carries within it the seed of primordial<strong> rhythmic, metrical, cyclical<\/strong> and <strong>mathematical <\/strong>senses that are <strong>embedded in the human DNA<\/strong>.&nbsp;<\/p>\n\n\n\n<p>As students of music, we need to connect to those senses within us :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>the basic sense of regular <strong>rhythm<\/strong><\/li>\n\n\n\n<li>the sense of <strong>rhythmic patterns<\/strong><\/li>\n\n\n\n<li>from there to the rhythmic <strong>groove<\/strong>, the <strong>Theka<\/strong><\/li>\n\n\n\n<li>which finally evolved into the <strong>Tala<\/strong>, the <strong>cyclical framework<\/strong> that became the edifice of <strong>rhythmic mathematics<\/strong>.<\/li>\n<\/ul>\n\n\n\n<p>The unique contribution of India to the world of <strong>drumming <\/strong>is the <strong>language of percussion.<\/strong><\/p>\n\n\n\n<p>A <strong>student <\/strong>of music who aspires to develop into a <strong>complete musician,<\/strong> needs to understand and relate to <strong>Theka, Tala<\/strong> and <strong>Percussion<\/strong>, to be able to develop and strengthen the <strong>inner rhythmic core<\/strong>. Developing <strong>Theka sense<\/strong> or the sense of pulse and metre, is as critical, in my experience, as developing command over <strong>keeping track of Tala <\/strong>with our hands, and in mental calculations. The student should acquire knowledge of arithmetical <strong>computations <\/strong>and <strong>jugglery <\/strong>that are possible within Tala frameworks in composition, and more significantly, in improvisation.<strong>Guru-s<\/strong> have always advised that<strong> vocal music student<\/strong>s need to <strong>learn one instrument<\/strong> and <strong>instrumental music students<\/strong> definitely need to <strong>learn vocal music<\/strong>. (I will build on this in another article.) <strong>Students of music<\/strong> should additionally, and definitely, <strong>learn to play a percussion instrument<\/strong>, and acquire at least basic command over <strong>phonemes, phrases<\/strong> and <strong>compositional motifs<\/strong>, techniques of <strong>improvisation <\/strong>and <strong>arithmetical computation.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The evolution of rhythm and percussion in India has brought it to a point of crystallization that is unparalleled in the international realm of popular or art music.&nbsp; It is essential for a student or music lover to understand the logic behind which the philosophy, structures, grammar, improvisation, and aesthetics of Indian rhythm and percussion [&hellip;]<\/p>\n","protected":false},"author":10,"featured_media":5881,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[335],"tags":[91,92,140,333,274],"class_list":["post-5879","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-alchemizing-music-concepts-for-students","tag-carnatic-classical-music","tag-carnatic-music","tag-indian-classical-music","tag-indian-music","tag-singing-hindustani-music"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Understanding Chhanda, Theka, Tala, and the Drums of India | Artium Academy<\/title>\n<meta name=\"description\" content=\"A student of music who aspires to develop into a complete musician, needs to understand and relate to Theka, Tala and Percussion, to be able to develop and strengthen the inner 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