Teentaal (alternatively spelled tintal , teental , or tintaal , and also called trital ; Hindi: तीन ताल ) is the most common taal of Hindustani music , and is used for drut (fast tempo). It is symmetrical and presents a very simple rhythmic structure against which a performance can be laid. It is of 16 beats with 4/4/4/4/ pattern and 4 divisions.There are 3 claps( tali ) and 1 gap( khali ).
8-477: Teentaal has sixteen (16) beats in four equal divisions ( Vibhag ). The period between every two beats is equal. The first beat out of 16 beats is called sam and the 9th beat is called khali ('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 ( Hindi teen 'three' + taal 'clap') give
16-513: A 'Vibhag'. Usually the beats will be in two, three, or four. They should be designated either with a clap or a wave of the hand. The meaning of the word Bhag from is parts. The actual measure of the Vibhag is borders or boundaries or boundary lines, in short not in continuity or not continuous. The talas in Tabla or in any other percussion instrument in classical music have Vibhagas to get a track of
24-441: A characteristic pattern of bols (theka). This can also be shown using the following figure 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
32-595: Is a line like this | . This is the symbol of Vibhag. And after the 4 syllables Dha Dhin Dhin Dha is the Vibhag. Now it is simple Maths that if there are 16 matras and if there is a Vibhag after every 4 matras, 2 conclusions are taken out. Those conclusions are that there will be 4 more vibhags after every 4 matra like it was there in the 1st line of Teental which was seen above. The 2nd one will be that after every vibhag there will be 4 matras. So in each Vibhag there will be 4 matras and in total it becomes 4×4 i.e. 16 which are
40-400: The beats on Matras on which the singer or player is singing or playing on. For example taking different talas, Tala Teental has 16 matras in it. It has 4 Vibhags. So Teental with Vibhags is written as This can also be shown using the following figure If you see both the tables then you may realize that after every 4 syllables i.e. considering the 1st line so Dha Dhin Dhin Dha after this
48-661: The bol, most of which occur in the final two vibhags. Also note that this variation is from the Lucknow Gherana. Vibhag 'Vibhag' (in music) represents a duration of rhythmic phrasing in Indian classical music made up of a certain number of beats. They are the rough equivalent of bars in western music, but instead of always being equal subdivisions of the tala (the rhythmic cycle - think 12 bar blues), they can be uneven. In certain traditions of [ [music of India|Indian music]], any number of [beat (music)|beats] may form
56-470: The matras of Teental. The line which you see in the table is the Vibhag and in each Vibhag there are 4 matras and so when multiply 4 and 4, we get 16 which is the matras of Teental. In the following table is the information of the Vibhags, the matras of the tala and the division of how the matras are divided in each Vibhags. Likewise, Teental has 4 Vibhags, This article about the culture of India
64-425: The rhythm its name. 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 | मात्रा भाग : ४-४-४-४. धा धिं धिं धा - धा धिं धिं धा - धा तिं तिं ता - ता धिं धिं धा It has
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