hindustani · 7 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
Rupak
Also known as Roopak
Rupak has seven 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 grouped 3 + 2 + 2. Its first 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 both sam and the 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 hand gesture, so start with a wave and 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 4 and 6; NIOS still marks the written sam with ×.
Source: NIOS +2
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 |
|---|---|---|
| Tin | Tin | Na |
| Matra 4 | Matra 5 |
|---|---|
| Dhin | Na |
| Matra 6 | Matra 7 |
|---|---|
| Dhin | Na |
Chart: NIOS
- NIOS, printed pp.23–24, §3.3.6 Rupaka chart and §3.3.7 Sam exception
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 · wave (khali) · sam
- 1Tin
- 2Tin
- 3Na
2 · clap (taali)
- 4Dhin
- 5Na
3 · clap (taali)
- 6Dhin
- 7Na
Cycle structure
- Notation
- 3 + 2 + 2; 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
- 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
- vilambit, madhya, drut
- Tempo labels on the cited performances, not a prescribed range.
Source: AUTRIM +2
- AUTRIM, Bhimpalasi page, performance by Aslam Khan, composition and tal
- AUTRIM, Khamaj page, performance by Ajoy Chakrabarty, composition and tal
- Raga Records, Bhairavi programme, medium and fast rupak
- 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 + 2 + 2
Source: NIOS
- NIOS, printed pp.23–24, §3.3.6 Rupaka chart and §3.3.7 Sam exception
- 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
- 4, 6
Source: NIOS
- NIOS, printed pp.23–24, §3.3.6 Rupaka chart and §3.3.7 Sam exception
- 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
- 1
Source: NIOS
- NIOS, printed pp.23–24, §3.3.6 Rupaka chart and §3.3.7 Sam exception
- 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
- Tin Tin Na | Dhin Na | Dhin Na
Source: NIOS
- NIOS, printed pp.23–24, §3.3.6 Rupaka chart and §3.3.7 Sam exception
Practise the base cycle before attempting dugun, tigun or chaugun subdivisions.
Usage and variants
Cited uses: khayal; thumri and allied semi-classical forms; instrumental gayaki-ang gat.
Source: AUTRIM +1
- AUTRIM, Rhythm page, Tal section
- Raga Records, Bhairavi programme item, medium and fast rupak
- Another way of numbering the markers. The University of Washington chart numbers only the claps, so its markers read 0, 1, 2. NIOS writes sam as X and numbers the later claps 2 and 3. The hand gestures fall in the same places.
Source: Univ. of Washington +2
- Univ. of Washington, §4 Rupak, top row aligned with matras 1,4,6
- NIOS, printed p.24, Rupaka chart marker row
- NIOS, printed p.24, §3.3.7
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
Recordings and performances that a cited source labels with 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. A publisher's label applies to the named item only; no listening check is claimed.
- Misra PilooRAGA-103: Manilal Nag — Japan, 1985 · Rupak and tintal · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-103 programme listing, “Misra Piloo”
- Raga Records, RAGA-103 programme listing, heading
- JogRAGA-105: Vishwa Mohan Bhatt — New York, 1989 · Rupak · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-105 programme listing, “Jog”
- Raga Records, RAGA-105 programme listing, heading
- KhamajRAGA-201: Nikhil Banerjee — Berkeley, 1967 · Short alapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary and gats · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-201 programme listing, “Khamaj”
- Raga Records, RAGA-201 programme listing, heading
- Misra KafiRAGA-204: Nikhil Banerjee — Berkeley, 1982 · Part 2 · AlapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary and gats · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-204 programme listing, “Misra Kafi”
- Raga Records, RAGA-204 programme listing, heading
- BhimpalasriRAGA-211: Nikhil Banerjee — Rotterdam, 1970 · AlapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary and gats · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-211 programme listing, “Bhimpalasri”
- Raga Records, RAGA-211 programme listing, heading
- ManomanjariRAGA-212: Nikhil Banerjee — Amsterdam, 1972 · AlapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary, jor and gats · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-212 programme listing, “Manomanjari”
- Raga Records, RAGA-212 programme listing, heading
- BhairaviRAGA-216: Nikhil Banerjee — Bombay, 1965 · AlapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary and gats in thumri style · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-216 programme listing, “Bhairavi”
- Raga Records, RAGA-216 programme listing, heading
- BhairaviRAGA-227: Nikhil Banerjee — Madras, 30 December 1964 · Gayaki ang gat in medium and fast rupak · labelled rupak
Source: Raga Records +1
- Raga Records, RAGA-227 programme listing, “Bhairavi”
- Raga Records, RAGA-227 programme listing, heading
- वारी वे गुमान ना करियेAslam Khan · bada khayal · slow tempo · Raag Bhimpalasi
- सब जग हैं तेरी मायाAjoy Chakrabarty · khayal · medium tempo · Raag Khamaj
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-103 · Cassette
Manilal Nag — Japan, 1985
Manilal Nag (sitar);Mahapurush Misra (tabla)
Misra Piloo
Rupak and tintal
RAGA-105 · Cassette
Vishwa Mohan Bhatt — New York, 1989
Vishwa Mohan Bhatt (guitar);Sukhvindar Singh (tabla)
Jog
Rupak
RAGA-201 · CD
Nikhil Banerjee — Berkeley, 1967
Nikhil Banerjee (sitar);Mahapurush Misra (tabla)
Khamaj
Short alap and gats
RAGA-204 · CD
Nikhil Banerjee — Berkeley, 1982 · Part 2
Nikhil Banerjee (sitar);Swapan Chaudhuri (tabla)
Misra Kafi
Alap and gats
RAGA-211 · CD
Nikhil Banerjee — Rotterdam, 1970
Nikhil Banerjee (sitar);Kanai Dutta (tabla)
Bhimpalasri
Alap and gats
RAGA-212 · 2 CDs
Nikhil Banerjee — Amsterdam, 1972
Nikhil Banerjee (sitar);Zamir Ahmed Khan (tabla)
Manomanjari
Alap, jor and gats
RAGA-216 · 2 CDs
Nikhil Banerjee — Bombay, 1965
Nikhil Banerjee (sitar);Nikhil Ghosh (tabla)
Bhairavi
Alap and gats in thumri style
Study BhairaviTaal: RupakTaalTaalA 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: Pancham SawariTaal: Teentaal
RAGA-227 · CD
Nikhil Banerjee — Madras, 30 December 1964
Nikhil Banerjee (sitar);Prem Vallabh (tabla)
Bhairavi
Gayaki ang gat in medium and fast rupak