Hindustani and Western comparison · Lesson 6 of 10 · Rhythm
Cycle, rhythm and cadence
The 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 and meter lesson compares a 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 cycle with a time signatureTime signatureThe numbers in a score that specify written time units and their beat grouping. They do not state the tempo.Source: AB G1 §2; G3 §1; G5 §1. and 2 moreMore in the glossary. This lesson looks at the parts of the cycle and the rhythm played on it: 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, 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 and sam, 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 and its bols, subdivision, and the tihaiTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary.
- Strong:
- a shared feature you can count or measure
- Qualified:
- a useful analogy with clear differences
- Context:
- a contrast that teaches, not an equivalence
Count 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
Topic 17 · Fit: Strong
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 and the beat
Learning objective: Count 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 as pulses, and say which counting level you are using.
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 the unit of a 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 that measures musical time. Teentaal has 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, while Ektal and Chautal both have 12: different taalsTaalA 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 can have the same number of 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.
Western theory counts beats, the regular pulse you might tap your foot to, and groups them into a meter.
Counting 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 as beats works well for a first count. Say what the count refers to: 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 can be heard as one beat, or divided into faster notes.
Where the comparison stops
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 and beat match as units of counting. Neither tells you how the performer divides the time, and the felt beat can differ from the written count.
Sources
Topic 18 · Fit: Qualified
AvartanAvartanOne complete traversal of a taal. Repeating avartans return to the beginning of the same rhythmic cycle.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary and the bar
Learning objective: See that one avartanAvartanOne complete traversal of a taal. Repeating avartans return to the beginning of the same rhythmic cycle.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary, a full 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 cycle, can be written across one or several Western bars.
An avartanAvartanOne complete traversal of a taal. Repeating avartans return to the beginning of the same rhythmic cycle.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary is one complete cycle of a 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, and it repeats. One avartanAvartanOne complete traversal of a taal. Repeating avartans return to the beginning of the same rhythmic cycle.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary of Teentaal is 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 long.
In Western notation, a bar holds the number of beats its time signatureTime signatureThe numbers in a score that specify written time units and their beat grouping. They do not state the tempo.Source: AB G1 §2; G3 §1; G5 §1. and 2 moreMore in the glossary sets. Teentaal's 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 could be written as four bars of 4/4, but that is only one choice.
Where the comparison stops
Barlines are a writing choice. They do not show which 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 sam, where the claps and the wave fall, or 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, and those are what make the cycle Teentaal.
Sources
Topic 19 · Fit: Strong
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 and grouping
Learning objective: Read a 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's 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 as groups of 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, and compare them with Western beat grouping.
A 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's cycle is split into 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. NIOS shows Teentaal's 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 in four 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 of four, and Rupak's 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 in three 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: one of three, then two of two. 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 do not have to be equal.
Western meters group beats as well. ABRSM's Grade 5 includes irregular time signaturesTime signatureThe numbers in a score that specify written time units and their beat grouping. They do not state the tempo.Source: AB G1 §2; G3 §1; G5 §1. and 2 moreMore in the glossary, whose beats fall into unequal groups.
Where the comparison stops
The grouping arithmetic matches. Writing Rupak as 3+2+2 says nothing about its claps and wave, its 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, or how performers phrase across 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.
Sources
- NIOS, Hindustani Music (242), Book 1, ch. 3: Elements of Tala, §3.3.6, pp. 23–24
- Srinivasamurthy, Holzapfel, Ganguli and Serra (2017), Aspects of Tempo and Rhythmic Elaboration in Hindustani Music, Table 1
- Gotham, Hamm and Shaffer, Open Music Theory: Simple Meter and Time Signatures, “Terminology”
- ABRSM, Music Theory Syllabus Outline, Grades 1–5 (from 2020), Grade 5 §1
Topic 21 · Fit: Qualified
Sam and the downbeat
Learning objective: Compare sam, the 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 of the cycle, with the Western downbeat, and meet the Rupak exception.
Sam is the 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 of a 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. NIOS says the main emphasis of the rhythm falls there, and Bhatkhande notationBhatkhande notationA Hindustani notation system using swara names and marks for altered notes, register, duration and taal positions.Source: N5 §5.3, pp. 35–36 (pitch, octave and duration symbols); §5.3, p. 36 (cycle symbols). and 1 moreMore in the glossary marks it ×. Sam closes one avartanAvartanOne complete traversal of a taal. Repeating avartans return to the beginning of the same rhythmic cycle.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary and begins the next.
In Western music, the downbeat is the first beat of a bar and is often heard as the strongest.
Rupak shows where the match fails. NIOS marks sam on 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, but when the 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 is recited with hand gestures that 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 shown as 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, a wave. NIOS calls this an exception.
Where the comparison stops
Sam is the arrival point of the whole cycle, not just a loud first beat. In Rupak the 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 waved, not clapped, so “sam is the strong beat” is not a safe rule.
Sources
Topic 23 · Fit: Qualified
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 and groove
Learning objective: Hear a 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 as the basic drum pattern that stands for a 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, and compare it with a Western groove.
NIOS calls 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 the whole group of bols of a 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: its basic pattern, which the drummer can elaborate with tukde and tihaisTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary. In NIOS, Teentaal's 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 begins Dha Dhin Dhin Dha.
In Western popular music, a groove is the repeating rhythmic feel a band plays together. Berklee's guide for singers describes straight-eighth and straight-sixteenth grooves, with named songs as examples.
Use the counter above to step through a 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 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 by 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.
Listen and look
- HindustaniKhamaj, Nikhil Banerjee (sitar) and Mahapurush Misra (tabla), Raga-201The booklet says the tabla joins with a gat in rupak tal, a seven-beat cycle, at 2:43, and that during the sitar solos the tabla keeps the tal by playing 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: Raga Records, Raga-201 and Cassette 101 booklet text (Nikhil Banerjee, sitar; Mahapurush Misra, tabla; KPFA Berkeley, 1967), Rag Khamaj paragraph, counter 2:43 · Read it in Ragapedia's archive
- WesternCalvin Harris, “I'm Not Alone” (2009) (Open Music Theory, Metrical Dissonance, Example 7)From 0:59, Open Music Theory notes a four-on-the-floor kick drum with a handclap on the backbeat, which makes the four-beat meter clear.Source: Gotham and Lavengood, Open Music Theory: Metrical Dissonance, Example 7, 0:59
- WesternBlondie, “Heart of Glass” (1978) (Open Music Theory, Drumbeats, Example 10)A four-on-the-floor beat with a backbeat, written out in drum-kit notation.Source: Hanenberg, Open Music Theory: Drumbeats, Example 10
Times and bar numbers come from the linked source. AUTRIM's times are seconds into its video; Raga Records gives counter times or track lengths from its own booklets and programme lists. Ragapedia has not added its own timings.
Named performances in the archive
- Nikhil Banerjee — Berkeley, 1967 · RAGA-201Khamaj · Short alap and gats · rupak, tintalNikhil Banerjee (sitar); Mahapurush Misra (tabla)
Programme labels come from Raga Records, the publisher. Ragapedia has not annotated these recordings.
Where the comparison stops
A groove comes from several instruments together and is not tied to a fixed cycle length. A 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 stands for one specific 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, though it has variants and is not the 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 itself.
Sources
- NIOS, Hindustani Music (242), Book 1, ch. 3: Elements of Tala, §3.3.5, p. 23
- AUTRIM (NCPA), Rhythm, “Tal”
- Raga Records, Raga-201 and Cassette 101 booklet text (Nikhil Banerjee, sitar; Mahapurush Misra, tabla; KPFA Berkeley, 1967), Rag Khamaj paragraph
- Ashlee Varner, Singers, Here's How to Talk to Your Band about Grooves, Berklee Online Take Note, “Duple/Quadruple Straight Eighth and Straight Sixteenth Grooves”
- Hanenberg, Open Music Theory: Drumbeats, Example 10
- Gotham and Lavengood, Open Music Theory: Metrical Dissonance, Example 7
Topic 24 · Fit: Qualified
Bols and rhythm syllables
Learning objective: Compare tabla bols with the syllables Western students use to count rhythm.
Bols are spoken syllables such as Dha, Dhin and tirkit. NIOS calls them mnemonic syllables that specify the sounds played. Because each bol names a stroke, reciting a 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 tells a drummer what to play, not only when.
Western ear training also speaks rhythm aloud. Hoffman, Pelto and White compare several systems: the common count “1-e-&-a, 2-e-&-a”, and Kodály's syllables, which name note valuesNote valueThe duration of a written note relative to other notes. Its symbol gives a duration; tempo determines how much clock time that duration takes.Source: AB G1 §1; G2 §1; G4 §1.More in the glossary (an eighth note is “ti”).
In their Takadimi system a syllable names where a note falls in the beat, not how long it is written. In simple meterMeterThe organisation of recurring beat groups. Simple meter divides beats into two; compound meter divides them into three; irregular groupings combine unequal groups.Source: AB G1 §2; G3 §1; G5 §1. and 2 moreMore in the glossary “Ta” is the beat, “di” its midpoint, and “ka” and “mi” the points between, so four even notes are “Ta-ka-di-mi”. Three even notes in compound meterMeterThe organisation of recurring beat groups. Simple meter divides beats into two; compound meter divides them into three; irregular groupings combine unequal groups.Source: AB G1 §2; G3 §1; G5 §1. and 2 moreMore in the glossary are “Ta-ki-da”.
The authors note that these syllables are like the ones North Indian tabla players use to speak the divisions of a pulse.
Western drum-kit notation does name the stroke, but in writing: each part of the kit, such as the kick drum, snare and hi-hat, has its own place on the staff and its own notehead.
Listen and look
- WesternTakadimi syllables (Hoffman, Pelto and White, Figures 5 and 9)Say Figure 5 aloud: “Ta-di” for two even notes in a beat, “Ta-ka-di-mi” for four, and “Ta-ki-da” for three in compound meterMeterThe organisation of recurring beat groups. Simple meter divides beats into two; compound meter divides them into three; irregular groupings combine unequal groups.Source: AB G1 §2; G3 §1; G5 §1. and 2 moreMore in the glossary. Figure 9 writes one syncopated rhythmSyncopationA shift of rhythmic emphasis towards a weak beat or between beats, often by sustaining a sound across a stronger position.Source: WR “Borrowed Divisions” / “Syncopation”. and 1 moreMore in the glossary in four systems at once: Kodály, McHose/Tibbs, Gordon and Takadimi. Then recite a 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, where each bol also names a stroke.Source: Richard Hoffman, William Pelto and John W. White (1996), Takadimi: A Beat-Oriented System of Rhythm Pedagogy, Journal of Music Theory Pedagogy 10, pp. 7–30 (authors' reprint), Figure 5, p. 15; Figure 9, p. 18
- WesternDrum-kit notation key (Open Music Theory, Drumbeats, Example 2)Find where the kick drum, snare drum and hi-hat sit on the staff, then compare with a 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, where each bol names its stroke aloud.Source: Hanenberg, Open Music Theory: Drumbeats, “Five-Line Staff Notation for Drum Kit”, Example 2
Times and bar numbers come from the linked source. AUTRIM's times are seconds into its video; Raga Records gives counter times or track lengths from its own booklets and programme lists. Ragapedia has not added its own timings.
Where the comparison stops
Rhythm syllables mark where notes fall in the beat, or how long they are. Bols also name the stroke: each bol stands for a sound played on the drum. Takadimi's syllables sound like tabla syllables but name only positions in the beat. Drum-kit notation shows which drum is struck, but it is read, not spoken; Ragapedia found no Western source that teaches spoken syllables for drum strokes.
Sources
- NIOS, Hindustani Music (242), Book 1, ch. 3: Elements of Tala, §3.3.4, p. 23
- AUTRIM (NCPA), Rhythm, “Tal”
- Brady, Hamm and Shaffer, Open Music Theory: The Basics of Sight-Singing and Dictation, sight-counting and solmization guidance
- Richard Hoffman, William Pelto and John W. White (1996), Takadimi: A Beat-Oriented System of Rhythm Pedagogy, Journal of Music Theory Pedagogy 10, pp. 7–30 (authors' reprint), pp. 8–9; p. 14 and note 10; Figure 5, p. 15; Figure 9, p. 18
- Hanenberg, Open Music Theory: Drumbeats, “Five-Line Staff Notation for Drum Kit”, Example 2
Topic 26 · Fit: Qualified
LayakariLayakariRhythmic variety created by changing how phrases subdivide or relate to the underlying pulse. This need not mean changing the base tempo.Source: RR14 §5.2, PDF pp. 6–7, “Layakari” (especially PDF p. 6). and 1 moreMore in the glossary, subdivision and cross-rhythm
Learning objective: Compare layakariLayakariRhythmic variety created by changing how phrases subdivide or relate to the underlying pulse. This need not mean changing the base tempo.Source: RR14 §5.2, PDF pp. 6–7, “Layakari” (especially PDF p. 6). and 1 moreMore in the glossary with Western subdivision, tupletsTupletA specified number of equal notes fitted into the time normally given to another number. A triplet often places three notes in the time of two.Source: WR “Borrowed Divisions” / “Syncopation”. and 1 moreMore in the glossary and syncopationSyncopationA shift of rhythmic emphasis towards a weak beat or between beats, often by sustaining a sound across a stronger position.Source: WR “Borrowed Divisions” / “Syncopation”. and 1 moreMore in the glossary, while the cycle stays fixed.
In layakariLayakariRhythmic variety created by changing how phrases subdivide or relate to the underlying pulse. This need not mean changing the base tempo.Source: RR14 §5.2, PDF pp. 6–7, “Layakari” (especially PDF p. 6). and 1 moreMore in the glossary, a performer changes how densely notes fill the 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, for example two, three or four notes per 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, against the steady cycle. NIOS describes dhrupadDhrupadA Hindustani vocal form built around composed text, raag and taal, traditionally with pakhawaj accompaniment.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary improvisation (upaj) as “doubling, tripling or quadrupling the actual tempo” before returning to the original tempo.
Western rhythm divides beats too. A tripletTupletA specified number of equal notes fitted into the time normally given to another number. A triplet often places three notes in the time of two.Source: WR “Borrowed Divisions” / “Syncopation”. and 1 moreMore in the glossary fits three notes into the time of two, a borrowed division, and syncopationSyncopationA shift of rhythmic emphasis towards a weak beat or between beats, often by sustaining a sound across a stronger position.Source: WR “Borrowed Divisions” / “Syncopation”. and 1 moreMore in the glossary places stress off the beat. Trinity's Grade 7 includes irregular groupings such as quintuplets (5:4).
Listen and look
- HindustaniGunakri sung by Ashwini Bhide, in Rupak (AUTRIM video)At 345–369 seconds AUTRIM notes phrases sung in step with the pace of the rhythm (layakari). Rupak is a seven-beat cycle.Source: AUTRIM (NCPA), Rag Gunakri: performance by Ashwini Bhide, with timed notes, performance notes 345–369
- WesternCalvin Harris, “I'm Not Alone” (2009) (Open Music Theory, Example 7)Two streams at once, from 0:59: the synth and bass group sixteenth notes in threes while the drums keep groups of four. Open Music Theory calls this a 3:4 grouping dissonance.Source: Gotham and Lavengood, Open Music Theory: Metrical Dissonance, Example 7, 0:59
- WesternHandel, “Alla hornpipe”, Water Music Suite No. 2 (Open Music Theory, Example 5)A hemiola, 2 against 3: in bars 9–10 the rhythm groups beats in twos against the triple meter.Source: Gotham and Lavengood, Open Music Theory: Metrical Dissonance, Example 5, mm. 9–10
Times and bar numbers come from the linked source. AUTRIM's times are seconds into its video; Raga Records gives counter times or track lengths from its own booklets and programme lists. Ragapedia has not added its own timings.
Where the comparison stops
Match the actual ratio and the cycle before using a Western name. A tupletTupletA specified number of equal notes fitted into the time normally given to another number. A triplet often places three notes in the time of two.Source: WR “Borrowed Divisions” / “Syncopation”. and 1 moreMore in the glossary usually covers a beat or a bar; layakariLayakariRhythmic variety created by changing how phrases subdivide or relate to the underlying pulse. This need not mean changing the base tempo.Source: RR14 §5.2, PDF pp. 6–7, “Layakari” (especially PDF p. 6). and 1 moreMore in the glossary is heard against the full 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 cycle.
Sources
- Suvarnalata Rao and Preeti Rao (2014), An Overview of Hindustani Music in the Context of Computational Musicology (author's manuscript), §5.2 “Layakari”, PDF p. 6
- NIOS, Hindustani Music (242), Book 1, ch. 4: Study of Forms: Dhrupad and Dhamar, §4.3, p. 30
- AUTRIM (NCPA), Rag Gunakri: performance by Ashwini Bhide, with timed notes, performance notes 345–369
- Gotham, Hamm and Hughes, Open Music Theory: Other Rhythmic Essentials, “Borrowed Divisions”; “Syncopation”
- Trinity College London, Theory of Music Syllabus, Grades 1–8, from 2009 (online edition April 2026), Grade 7, p. 29, Rhythm §1
- Gotham and Lavengood, Open Music Theory: Metrical Dissonance, “Grouping dissonance”, Examples 5 and 7
Topic 27 · Fit: Qualified
TihaiTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary and cadence
Learning objective: Understand a tihaiTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary as a phrase played three times to land on a chosen point, and compare it with a Western cadence.
A tihaiTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary repeats a phrase three times so that its end lands on a target point. AUTRIM notes that the target can be sam or the start of the composition's returning phrase, the mukhda.
A Western cadence also marks arrival at the end of a phrase, through harmony and melody.
Both tell the listener a close is coming. The tihaiTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary does it by rhythmic calculation against the cycle.
Where the comparison stops
Three repeats alone do not make a tihaiTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary: what matters is where it lands in the cycle. A tihaiTihaiA rhythmic ending formed by repeating a phrase three times. It may lead to sam or to the composition’s returning phrase, the mukhda; sam is not its only possible target.Source: AR “Tihai.”More in the glossary need not land on sam, and a Western cadence does not work by repeating a figure three times.
Sources
- AUTRIM (NCPA), Rhythm, “Tihai”
- Peterson, Open Music Theory: Introduction to Harmony, Cadences, and Phrase Endings, “Introduction to Cadences”
Related pages
Ragapedia wrote these comparisons by combining separately cited Hindustani and Western sources. No source institution has endorsed them, and a musician has not reviewed this lesson.