hindustani · 14 matrasMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary
Deepchandi
Deepchandi has fourteen matrasMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary arranged 3 + 4 + 3 + 4. In Gangolli’s chart, clap at matrasMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary 1, 4 and 11 and wave at matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary 8, while continuing to count the silent matrasMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary 3, 7, 10 and 14.
Source: Univ. of Washington +2
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- Univ. of Washington, §7 Deepchandi, second half, matras 8–14
- NIOS, printed p.24, §3.3.8, khali hand gesture
ThekaThekaA basic pattern of percussion bols that helps identify a taal. The pattern supports accompaniment and can be elaborated.Source: N3 §§3.3.4–3.3.5, p. 23. and 1 moreMore in the glossary · bolsBolA spoken syllable, such as Dha or Dhin, used to remember and communicate percussion sounds. Sequences of these syllables help teach and recite rhythmic patterns.Source: N3 §§3.3.4–3.3.5, p. 23. and 1 moreMore in the glossary and notation
A matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary is one beat; a vibhagVibhagA smaller division of matras within a taal. Divisions make the cycle easier to follow and need not all contain the same number of units.Source: N3 §3.3.6, pp. 23–24. and 1 moreMore in the glossary is a group of beats. Read one matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary per column. Follow the vibhagsVibhagA smaller division of matras within a taal. Divisions make the cycle easier to follow and need not all contain the same number of units.Source: N3 §3.3.6, pp. 23–24. and 1 moreMore in the glossary in order, then return to samSamThe first matra of a taal cycle, a key point of rhythmic return. Sam can coincide with khali, as in Rupak, so it does not always mean a clap.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary at beat 1.
| Matra 1, sam | Matra 2 | Matra 3 |
|---|---|---|
| Dha | Dhin | No new stroke |
| Matra 4 | Matra 5 | Matra 6 | Matra 7 |
|---|---|---|---|
| Dha | Dha | Tin | No new stroke |
| Matra 8 | Matra 9 | Matra 10 |
|---|---|---|
| Ta | Tin | No new stroke |
| Matra 11 | Matra 12 | Matra 13 | Matra 14 |
|---|---|---|---|
| Dha | Dha | Dhin | No new stroke |
Chart: Univ. of Washington +1
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- Univ. of Washington, §7 Deepchandi, second half, matras 8–14
X marks sam and 0 marks khaliKhaliA wave-marked position or division in a taal’s hand-counting pattern. Khali is shown with 0 in Bhatkhande notation; it does not require silence.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary, shown with a wave. Other marker numbers count the clapped divisions, not beats. In Rupak the NIOS chart writes X on sam, but the hand gesture there is a wave. A dash means no new stroke, not khaliKhaliA wave-marked position or division in a taal’s hand-counting pattern. Khali is shown with 0 in Bhatkhande notation; it does not require silence.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary. Grouped bols such as DhaGe or Tirakita stay within one matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary.
How to read this notation · DigiTablaCount along
A matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary is one beat in the cycle. LayaLayaThe pace of musical time. Vilambit, madhya and drut describe slow, medium and fast laya relative to the performance context, not fixed universal speeds.Source: N3 §3.3.3, p. 23 (tempo definition; fixed doubling contradicts the corrected relative categories). and 2 moreMore in the glossary is its speed, shown here as matrasMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary per minute. Press play to follow the claps, wave on khaliKhaliA wave-marked position or division in a taal’s hand-counting pattern. Khali is shown with 0 in Bhatkhande notation; it does not require silence.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary, and return to sam. The sounds are counting clicks.
Stopped
X · clap (taali) · sam
- 1Dha
- 2Dhin
- 3–
2 · clap (taali)
- 4Dha
- 5Dha
- 6Tin
- 7–
0 · wave (khali)
- 8Ta
- 9Tin
- 10–
3 · clap (taali)
- 11Dha
- 12Dha
- 13Dhin
- 14–
Cycle structure
- Grouping
- 3 + 4 + 3 + 4
Source: Univ. of Washington
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- Notation
- 3 + 4 + 3 + 4; sam at matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary 1
Source: Univ. of Washington +2
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- NIOS, printed p.24, §3.3.8–3.3.9, khali and tali definitions
- Univ. of Washington, §7 Deepchandi, second half, matras 8–14
- LayaLayaThe pace of musical time. Vilambit, madhya and drut describe slow, medium and fast laya relative to the performance context, not fixed universal speeds.Source: N3 §3.3.3, p. 23 (tempo definition; fixed doubling contradicts the corrected relative categories). and 2 moreMore in the glossary
- Not stated in the sources we cite yet
- Curriculum
- Pracheen Kala Kendra first prescribes it at Bhushan Part-II (second year). Earlier syllabuses are combined with subsequent levels; seventh-year list also explicitly includes Ektaal and Deepchandi.
Hindustani structure
- VibhagVibhagA smaller division of matras within a taal. Divisions make the cycle easier to follow and need not all contain the same number of units.Source: N3 §3.3.6, pp. 23–24. and 1 moreMore in the glossary
- 3 + 4 + 3 + 4
Source: Univ. of Washington
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- TaliTaaliA clap-marked position in a taal’s hand-counting pattern. Claps distinguish divisions from khali waves and help track the cycle.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary
- 1, 4, 11
Source: Univ. of Washington +1
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- Univ. of Washington, §7 Deepchandi, second half, matras 8–14
- KhaliKhaliA wave-marked position or division in a taal’s hand-counting pattern. Khali is shown with 0 in Bhatkhande notation; it does not require silence.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary
- 8
Source: Univ. of Washington +1
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- Univ. of Washington, §7 Deepchandi, second half, matras 8–14
- ThekaThekaA basic pattern of percussion bols that helps identify a taal. The pattern supports accompaniment and can be elaborated.Source: N3 §§3.3.4–3.3.5, p. 23. and 1 moreMore in the glossary
- Dha Dhin - | Dha Dha Tin - | Ta Tin - | Dha Dha Dhin -
Source: Univ. of Washington +1
- Univ. of Washington, §7 Deepchandi, 14-beat chart; beat numbers and X/2/o/3 row
- Univ. of Washington, §7 Deepchandi, second half, matras 8–14
Practise the base cycle before attempting dugun, tigun or chaugun subdivisions.
Usage and variants
Cited uses: thumri and allied semi-classical forms.
Source: AUTRIM
- AUTRIM, Rhythm page, Tal section
- Related 16-beat Panjabi chart (University of Washington). The source relates this sixteen-beat chart to Deepchandi and Teentaal. It is not the fourteen-beat Deepchandi chart.dha - dhin - | dha dha tin - | ta - tin - | dha dha dhin -
Source: Univ. of Washington +1
- Univ. of Washington, §7 Deepchandi, subsequent 16-beat Panjabi chart, matras 1–8
- Univ. of Washington, §7 related 16-beat chart, matras 9–16
Published charts differ in some bols and in how markers are numbered; the cited variants are listed. No musician has reviewed this taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary yet.
Named examples
No named recording or composition is verified for this taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary in the sources we cite yet.
Archive recordings
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