hindustani · 16 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
Teentaal
Also known as Tintal, Trital, Teen Taal, Teen Tal
Teentaal has sixteen 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 divided into four equal groups of four. Mark 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, clap again 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 5 and 13, 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 9 as the 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 repeats.
Source: NIOS +1
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 | Matra 4 |
|---|---|---|---|
| Dha | Dhin | Dhin | Dha |
| Matra 5 | Matra 6 | Matra 7 | Matra 8 |
|---|---|---|---|
| Dha | Dhin | Dhin | Dha |
| Matra 9 | Matra 10 | Matra 11 | Matra 12 |
|---|---|---|---|
| Dha | Tin | Tin | Ta |
| Matra 13 | Matra 14 | Matra 15 | Matra 16 |
|---|---|---|---|
| Ta | Dhin | Dhin | Dha |
Chart: NIOS
- NIOS, printed p.37, Teen Tala description and Theka of Teen Tala chart
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
- 3Dhin
- 4Dha
2 · clap (taali)
- 5Dha
- 6Dhin
- 7Dhin
- 8Dha
0 · wave (khali)
- 9Dha
- 10Tin
- 11Tin
- 12Ta
3 · clap (taali)
- 13Ta
- 14Dhin
- 15Dhin
- 16Dha
Cycle structure
- Grouping
- 4 + 4 + 4 + 4
Source: NIOS
- NIOS, printed p.37, Teen Tala description and Theka of Teen Tala chart
- Notation
- 4 + 4 + 4 + 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
- 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.
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
- 4 + 4 + 4 + 4
Source: NIOS
- NIOS, printed p.37, Teen Tala description and Theka of Teen Tala chart
- 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, 5, 13
Source: NIOS
- NIOS, printed p.37, Teen Tala description and Theka of Teen Tala chart
- 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
- 9
Source: NIOS
- NIOS, printed p.37, Teen Tala description and Theka of Teen Tala chart
- 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 Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha
Source: NIOS
- NIOS, printed p.37, Teen Tala description and Theka of Teen Tala chart
Practise the base cycle before attempting dugun, tigun or chaugun subdivisions.
Usage and variants
Cited uses: khayal; instrumental gats.
Source: AUTRIM +1
- AUTRIM, Rhythm page, Tal section
- Raga Records, Side A, Maru Bihag programme item
- University of Washington chart. Gives na 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 13 where NIOS gives Ta, and describes a "na dhin dhin na" pronunciation.Dha dhin dhin dha | dha dhin dhin dha | Dha tin tin ta | na dhin dhin dha
Source: Univ. of Washington +1
- Univ. of Washington, §2 Teental, matras 9–16
- Univ. of Washington, §2 Teental, matras 1–8
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.
- Puria KalyanRAGA-103: Manilal Nag — Japan, 1985 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-103 programme listing, “Puria Kalyan”
- Raga Records, RAGA-103 programme listing, heading
- Misra PilooRAGA-103: Manilal Nag — Japan, 1985 · Rupak and tintal · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-103 programme listing, “Misra Piloo”
- Raga Records, RAGA-103 programme listing, heading
- KhamajRAGA-103: Manilal Nag — Japan, 1985 · Sitarkhani and tintal · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-103 programme listing, “Khamaj”
- Raga Records, RAGA-103 programme listing, heading
- Maru BihagRAGA-105: Vishwa Mohan Bhatt — New York, 1989 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-105 programme listing, “Maru Bihag”
- 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-201 programme listing, “Khamaj”
- Raga Records, RAGA-201 programme listing, heading
- ManomanjariRAGA-202: Nikhil Banerjee — Berkeley, 1968 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-202 programme listing, “Manomanjari”
- Raga Records, RAGA-202 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-204 programme listing, “Misra Kafi”
- Raga Records, RAGA-204 programme listing, heading
- Ahir BhairavRAGA-206: Buddhadev Das Gupta — Ahir Bhairav · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-206 programme listing, “Ahir Bhairav”
- Raga Records, RAGA-206 programme listing, heading
- Purabi KalyanRAGA-207: Nikhil Banerjee — Berkeley, 1982 · Part 1 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-207 programme listing, “Purabi Kalyan”
- Raga Records, RAGA-207 programme listing, heading
- BihagRAGA-208: Vishwa Mohan Bhatt — Pittsburgh, 1989 · 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, jhalla and gats · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-208 programme listing, “Bihag”
- Raga Records, RAGA-208 programme listing, heading
- Nayak ki KanraRAGA-210: Buddhadev Das Gupta — Fishkill, 1989 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-210 programme listing, “Nayak ki Kanra”
- Raga Records, RAGA-210 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-211 programme listing, “Bhimpalasri”
- Raga Records, RAGA-211 programme listing, heading
- MultaniRAGA-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 tintal
Source: Raga Records +1
- Raga Records, RAGA-211 programme listing, “Multani”
- 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-212 programme listing, “Manomanjari”
- Raga Records, RAGA-212 programme listing, heading
- Sindhu KhamajRAGA-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 and gats · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-212 programme listing, “Sindhu Khamaj”
- Raga Records, RAGA-212 programme listing, heading
- LalitRAGA-213: Manilal Nag — Calcutta, 1989 · 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, jhalla and gats · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-213 programme listing, “Lalit”
- Raga Records, RAGA-213 programme listing, heading
- HemantRAGA-214: Nikhil Banerjee — Amsterdam, 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, jor and gats · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-214 programme listing, “Hemant”
- Raga Records, RAGA-214 programme listing, heading
- Jogiya KalingraRAGA-216: Nikhil Banerjee — Bombay, 1965 · Gats · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-216 programme listing, “Jogiya Kalingra”
- Raga Records, RAGA-216 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-216 programme listing, “Bhairavi”
- Raga Records, RAGA-216 programme listing, heading
- MalgunjiRAGA-217: Nikhil Banerjee — Munich, 1980 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-217 programme listing, “Malgunji”
- Raga Records, RAGA-217 programme listing, heading
- GawotiRAGA-218: Nikhil Banerjee — Amsterdam, 1984 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-218 programme listing, “Gawoti”
- Raga Records, RAGA-218 programme listing, heading
- ShreeRAGA-224: Nayan Ghosh — San Rafael, 1999 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-224 programme listing, “Shree”
- Raga Records, RAGA-224 programme listing, heading
- Tilak KamodRAGA-224: Nayan Ghosh — San Rafael, 1999 · 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 gat; excerpt of the full performance · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-224 programme listing, “Tilak Kamod”
- Raga Records, RAGA-224 programme listing, heading
- ShreeRAGA-225: Nikhil Banerjee — Munich, 1976 · 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 tintal
Source: Raga Records +1
- Raga Records, RAGA-225 programme listing, “Shree”
- Raga Records, RAGA-225 programme listing, heading
- Zilla KafiRAGA-226: Vasant Rai — New York, 1981 · Gats · labelled tintal
Source: Raga Records +1
- Raga Records, RAGA-226 programme listing, “Zilla Kafi”
- Raga Records, RAGA-226 programme listing, heading
- रसिया म्हारा अमलाराPadma Talwalkar · chhota khayal · slow tempo · Raag Ahir Bhairav
- जागो मोहन प्यारेPadma Talwalkar · chhota khayal · medium tempo · Raag Bhairav
- अब ना सहे जिया मानत नाहीUlhas Kashalkar · chhota khayal · fast tempo · Raag Deshkar
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)
Puria Kalyan
Alap and gats
Misra Piloo
Rupak and tintal
Khamaj
Sitarkhani and tintal
Study KhamajTaalTaalA 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: SitarkhaniTaal: Teentaal
RAGA-105 · Cassette
Vishwa Mohan Bhatt — New York, 1989
Vishwa Mohan Bhatt (guitar);Sukhvindar Singh (tabla)
Maru Bihag
Alap and gats
RAGA-201 · CD
Nikhil Banerjee — Berkeley, 1967
Nikhil Banerjee (sitar);Mahapurush Misra (tabla)
Khamaj
Short alap and gats
RAGA-202 · CD
Nikhil Banerjee — Berkeley, 1968
Nikhil Banerjee (sitar);Mahapurush Misra (tabla)
Manomanjari
Alap, jor and gats
RAGA-204 · CD
Nikhil Banerjee — Berkeley, 1982 · Part 2
Nikhil Banerjee (sitar);Swapan Chaudhuri (tabla)
Misra Kafi
Alap and gats
RAGA-206 · CD
Buddhadev Das Gupta — Ahir Bhairav
Buddhadev Das Gupta (sarod);Anand Gopal Bandopadhyay (tabla)
Ahir Bhairav
Alap, jor and gats
RAGA-207 · 2 CDs
Nikhil Banerjee — Berkeley, 1982 · Part 1
Nikhil Banerjee (sitar);Swapan Chaudhuri (tabla)
Purabi Kalyan
Alap, jor and gats
RAGA-208 · CD
Vishwa Mohan Bhatt — Pittsburgh, 1989
Vishwa Mohan Bhatt (guitar);Sukhvindar Singh (tabla)
Bihag
Alap, jor, jhalla and gats
RAGA-210 · CD
Buddhadev Das Gupta — Fishkill, 1989
Buddhadev Das Gupta (sarod);Anand Gopal Bandopadhyay (tabla)
Nayak ki Kanra
Alap, jor and gats
RAGA-211 · CD
Nikhil Banerjee — Rotterdam, 1970
Nikhil Banerjee (sitar);Kanai Dutta (tabla)
Bhimpalasri
Alap and gats
Multani
Alap and gats
RAGA-212 · 2 CDs
Nikhil Banerjee — Amsterdam, 1972
Nikhil Banerjee (sitar);Zamir Ahmed Khan (tabla)
Manomanjari
Alap, jor and gats
Sindhu Khamaj
Alap and gats
RAGA-213 · CD
Manilal Nag — Calcutta, 1989
Manilal Nag (sitar);Anand Gopal Bandopadhyay (tabla)
Lalit
Alap, jor, jhalla and gats
RAGA-214 · CD
Nikhil Banerjee — Amsterdam, 1970
Nikhil Banerjee (sitar);Kanai Dutta (tabla)
Hemant
Alap, jor and gats
RAGA-216 · 2 CDs
Nikhil Banerjee — Bombay, 1965
Nikhil Banerjee (sitar);Nikhil Ghosh (tabla)
Jogiya Kalingra
Gats
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-217 · CD
Nikhil Banerjee — Munich, 1980
Nikhil Banerjee (sitar);Anindo Chatterjee (tabla)
Malgunji
Alap, jor and gats
RAGA-218 · CD
Nikhil Banerjee — Amsterdam, 1984
Nikhil Banerjee (sitar);Abhijit Banerjee (tabla)
Gawoti
Alap, jor and gats
RAGA-224 · CD
Nayan Ghosh — San Rafael, 1999
Nayan Ghosh (sitar);Mallar Ghosh (tabla);Sumita Chatterjee (tanpura)
Shree
Alap, jor and gats
Tilak Kamod
Alap and gat; excerpt of the full performance
RAGA-225 · CD
Nikhil Banerjee — Munich, 1976
Nikhil Banerjee (sitar);Swapan Chaudhuri (tabla)
Shree
Alap, jor and gats
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: JhaptalTaal: Teentaal
RAGA-226 · CD
Vasant Rai — New York, 1981
Vasant Rai (sarod);Ananda Gopal Bandopadhyay (tabla);Kokila Rai (tanpura)
Zilla Kafi
Gats