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Teental

From Wikipedia, the free encyclopedia
16-beat Tala in Hindustani music
Not to be confused with the Maya archaeological siteEl Tintal, or the neighbourhood ofTintal, Bogotá.

Teentaal (alternatively spelledtintal,teental, ortintaal, and also calledtrital; Hindi:तीन ताल) is the most commontaal ofHindustani music, and is used fordrut (fast tempo). It is symmetrical and presents a very simple rhythmic structure against which a performance can be laid.It is of16 beats with4/4/4/4/ pattern and4divisions.There are3 claps(tali) and1 gap(khali).

Arrangement

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Teentaal has sixteen (16) beats[1] in four equal divisions (Vibhag). The period between every two beats is equal. The first beat out of 16 beats is calledsam and the 9th beat is calledkhali ('empty'). To count the Teentaal, the audience claps on the first beat, claps on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps (Hinditeen 'three' +taal 'clap') give the rhythm its name.

Uses

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Teentaal can be used for both accompaniment and solo. There are various Kaidas and Parans based on it. Teentaal is the most widely used taal. Teentaal is mostly used in the drut laya and Zhalas.

Theka:

DHA DHIN DHIN DHA |

DHA DHIN DHIN DHA |

NA TIN TIN TA |

TETE DHIN DHIN DHA |

Theka

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मात्रा भाग : ४-४-४-४.
धा धिं धिं धा - धा धिं धिं धा - धा तिं तिं ता - ता धिं धिं धा
It has a characteristic pattern ofbols (theka).

The Theka for Tintal
dhadhindhindha|dhadhindhindha|
x2
dhatintinta|Tadhindhindha|
o3

This can also be shown using the following figure[1]

Taal signsX203
Maatra12345678910111213141516
Bolsdhadhindhindhadhadhindhindhadhatintintatadhindhindha

Note the bols used for the first beat of each division: Dha, a bol involving both hands, is played at the beginning of the first, second and final divisions; for the khali section, Naa – a right hand bol – is used to indicate that the division is open. There are some pedagogical variations as to the actual syllables pronounced when reciting the bol, most of which occur in the final two vibhags.Also note that this variation is from the Lucknow Gherana.

References

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  1. ^abSarah M. Van Doel (2008).Sikh Music: History, Text, and Praxis. pp. 57–.ISBN 978-0-549-83369-7. Retrieved1 July 2012.
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