In one of his messages to me, Pandit Arvind Parikh (a sitar student of Ustad Vilayat Khan) wrote me:
"Indian musicians believe that tinntal is the King of all rhythms and once a person is proficient in playing/improvising in tintal, that person can improvise in other rhythms without any difficulty. Though Ustad Vilayat Khan, most of the times, plays gats in tinntal, he does occasionally play gats in the other rhythms such as rupak and jhaptal. He also plays in ektal, especially in the drut laya (faster tempo)."
Abstract. Tintal is the chief tala of North Indian classical music. In this note, I discuss "Tintal's theka", "Tintal kaidas", and "Tintal tihais".
Introduction. In Hindustani sangeet, there are four major rhythm cycles called Tintal (16 beats), Ektal (12 beats), Jhaptal (10 beats), and Rupak (7 beats). Indian musicians believe that Tintal is the king of all talas (rhythms). Tintal is also the most common rhythm cycle used in classical Indian vocal, instrumental, and dance music with all different tempos. Tintal has many versions performed in different gharanas (stylistic schools of music in India). I give the one given by Pandit Aloke Dutta in his book with the title "Tabla - Lessons and Practice":
Tintal. Tintal is in 16 matras (beats) divided into 4+4+4+4 and the most famous Tintal's theka (main cycle) is:
Dha Dhin Dhin Dha,
Dha Dhin Dhin Dha,
Na Tin Tin Na,
Ta Dhin Dhin Dha.
Tintal kaidas. In the following, I give a couple of Tintal kaidas:
Teentaal Kaida No. 1 taken from [D]:
Dha Dha Te Te Dha Dha Tu Na
Ta Ta Te Te Dha Dha Dhin Na
Based on Tintal kaida No. 1, I composed some similar kaidas. I bring them in the following:
Dha Te Te Tu Na Dhe Dhe Na Dha Dha Te Te Dha Dha Tu Na
Ta Te Te Tu Na Te Te Na Dha Dha Te Te Dha Dha Dhi Na
Dha Te Te Dha Ge Na Te Te Dha Dha Te Te Dha Dha Tu Na
Ta Te Te Ta Ke Na TeTe Dha Dha Te Te Dha Dha Dhi Na
Dha Te Te Te Te Dha Te Te Te Te Te Te Dha Dha Tu Na
Ta Te Te Te Te Ta Te Te Te Te Te Te Dha Dha Dhi Na
Dha Dhi Na Dhi Na Dha Dhi Na Dha Dha Te Te Dha Dha Tu Na
Na Tu Na Tu Na Na Tu Na Dha Dha Te Te Dha Dha Dhi Na
Dha Tu Na Dha Tu Na Te Te Dha Dha Te Te Dha Dha Tu Na
Ta Tu Na Ta Tu Na Te Te Dha Dha Te Te Dha Dha Dhi Na
Dha TeRe KeTe Dha Ge Na Tu Na Dha Dha Te Te Dha Dha Tu Na
Ta TeRe KeTe Ta Ke Na Tu Na Dha Dha Te Te Dha Dha Dhi Na
Tintal Kaida No. 2 taken from [D]:
Dha Te Te Dha Te Te Dha Dha Te Te Dha Ga Tu Na Ke Na
Ta Te Te Ta Te Te Ta Ta Te Te Dha Ga Dhi Na Ge Na
Note that this is a very famous kaida popular in different gharanas of tabla. While Tintal is divided into
4+4+4+4
I do think that one may consider Tintal Kaida No. 2 as a variation divided into
3+3+4+2+4.
There are many different variations for this kaida. In the following, I give the following variations which I find quite interesting:
Te Te Dha Te Te Dha Te Te Te Te Dha Ga Tu Na Ke Na
Te Te Ta Te Te Ta Te Te Te Te Dha Ga Dhi Na Ge Na
Dha Te Te Te Te Dha Te Te Te Te Dha Ga Tu Na Ke Na
Ta Te Te Te Te Ta Te Te Te Te Dha Ga Dhi Na Ge Na
In the following kaida, the rhythmic phrases such as "Dha Te Te" and "Dha Dha Te Te" have not been applied, but structurally, it is similar to the Tintal Kaida No. 2 because one can consider that as a variation divided into 3+3+4+2+4.
Dha Ge Na Dha Ge Na Dha Ge Na Na Dha Ga Tu Na Ke Na
Ta Ke Na Ta Ke Na Ta Ke Na Na Dha Ga Dhi Na Ge Na
This is another variation:
Dha Ge Na Dha Ge Na Dha -- Dha Ge Na Dha Ge Na Dha --
Dha Ge Na Dha Ge Na Dha Ge Na Na Dha Ga Tu Na Ke Na
Ta Ke Na Ta Ke Na Ta -- Ta Ke Na Ta Ke Na Ta --
Dha Ge Na Dha Ge Na Dha Ge Na Na Dha Ga Dhi Na Ge Na
Tintal Kaida No. 3 taken from [D]:
"Ustad Habibuddin Khan had two styles, which is easy to understand because his father, Shammu Khan of Ajrara School, with whom he started learning, died only four years after his institution. As a result, he continued his studies with Natthu Khan of the Delhi School. For example, he played a kaida, from Delhi, which goes as follows:
Dha Ge Na Te Te Dha Ge Na Te Te Dha Ga Tu Na Ke Na
Ta Ke Na Te Te Ta Ke Na Te Te Dha Ga Dhi Na Ge Na"
I give some kaidas similar to Tintal Kaida No. 3 which I have composed by myself.
Dha Ge Na Te Te Dha Te Te Dha Ti Dha Ga Tu Na Ke Na
Ta Ke Na Te Te Ta Te Te Dha Ti Dha Ga Dhi Na Ge Na
Tu Na Dha Ge Na Te Te Dha Ge Na Dha Ga Tu Na Ke Na
Tu Na Ta Ke Na Te Te Dha Ge Na Dha Ga Dhi Na Ge Na
Dha Ge Na Te Te Te Te Dha Ge Na Te Te Te Te Dha Ti
Dha Ge Na Te Te Dha Ge Na Te Te Dha Ga Tu Na Ke Na
Ta Ke Na Te Te Te Te Ta Ke Na Te Te Te Te Dha Ti
Dha Ge Na Te Te Dha Ge Na Te Te Dha Ga Dhi Na Ge Na
Tintaal Kaida No. 4:
Dha Ge Na Dha Ti Dha Ge Na Dha Ti Dha Ga Tu Na Ke Na
Ta Ke Na Ta Ti Ta Ke Na Ta Ti Dha Ga Dhi Na Ge Na
Note that ending a Tintal kaida with the phrases "Dha Ti Dha Ga Tu Na Ke Na" and similarly "Ta Ti Dha Ga Dhi Na Ge Na" is very popular in Indian tabla solo recitals. In the following, I give some samples:
Dha Ge Na Na Ti Dha Ge Na Dha Ti Dha Ga Tu Na Ke Na
Ta Ke Na Na Ti Ta Ke Na Dha Ti Dha Ga Dhi Na Ge Na
Ka Ta Dha Ti Dha Ge Na Na Dha Ti Dha Ga Tu Na Ke Na
Ka Ta Ta Ti Ta Ke Na Na Dha Ti Dha Ga Dhi Na Ge Na
Dha Ge Na Dha TeRe KeTe Dhe Te Dha Ti Dha Ga Tu Na Ke Na
Ta Ke Na Ta TeRe KeTe The Te Dha Ti Dha Ga Dhi Na Ge Na
Dha Na Tu Na Dha Tu Na Na Dha Ti Dha Ga Tu Na Ke Na
Ta Na Tu Na Ta Tu Na Na Dha Ti Dha Ga Dhi Na Ge Na
Dha -- TeRe KeRe Dhe Te Ge Na Dha Ti Dha Ga Tu Na Ke Na
Ta -- TeRe KeRe The Te Ge Na Dha Ti Dha Ga Dhi Na Ge Na
Tintal Kaida No. 5:
Tu Na Dha Ge Na Tu Na Dha Ge Na Dha Ga Tu Na Ke Na
Tu Na Ta Ke Na Tu Na Ta Ke Na Dha Ga Dhi Na Ge Na
Tintaal Kaida No. 6:
Dha Ti Dha Ge Na Dha Ti Dha Ge Na Dha Ga Tu Na Ke Na
Ta Ti Ta Ke Na Ta Ti Ta Ke Na Dha Ga Dhi Na Ge Na
Tintal Kaida No. 7:
Dha Dha Te Te Dha Ge Na Dha TeRe KeTe Dha Ga Tu Na Ke Na
Ta Ta Te Te Ta Ke Na Ta TeRe KeTe Dha Ga Dhi Na Ge Na
A variation of Tintal Kaida No. 7:
Dha Dha Te Te Dha Ge Na Dha TeRe KeTe Dha Ge Na Dha TeRe KeTe
Dha Dha Te Te Dha Ge Na Dha TeRe KeTe Dha Ga Tu Na Ke Na
Ta Ta Te Te Ta Ke Na Ta TeRe KeTe Ta Ke Na Ta TeRe KeTe
Dha Dha Te Te Dha Ge Na Dha TeRe KeTe Dha Ga Dhi Na Ge Na
Now, I proceed to give some Tintal kaidas ending with the phrases "Dha Ge Na Tu Na Ke Na" and "Dha Ge Na Dhi Na Ge Na".
Tintaal Kaida No. 8:
Ka Ta Dha Ti Dha Ge Na Dha Ti Dha Ge Na Tu Na Ke Na
Ka Ta Ta Ti Ta Ke Na Ta Ti Dha Ge Na Dhi Na Ge Na
A variation of Tintal Kaida No. 8:
Ka Ta Dha Ti Dha Ge Na Dha -- Dha Ge Na Dha Ge Na Na
Ka Ta Dha Ti Dha Ge Na Dha Ti Dha Ge Na Tu Na Ke Na
Ka Ta Ta Ti Ta Ke Na Ta -- Ta Ke Na Ta Ke Na Na
Ka Ta Dha Ti Dha Ge Na Dha Ti Dha Ge Na Dhi Na Ge Na
Tintal Kaida No. 9:
Dha Ge Te Te Dha Ge Na Te Te Dha Ge Na Tu Na Ke Na
Ta Ke Te Te Ta Ke Na Te Te Dha Ge Na Dhi Na Ge Na
Tintal Kaida No. 10:
Dha Ge Na Dha -- Dha TeRe KeTe Dha Ge Na Dha Tu Na Ke Na
Ta Ke Na Ta -- Ta TeRe KeTe Dha Ge Na Dha Dhi Na Ge Na
Tintal tihais. A tihai indicates the end of a composition. The tihai is the figure at the end of an elaborated or fixed composition which begins on any matra in the given tala and, after being played three times, ends on the sam (the first matra of a tala).
Repeating three times a phrase in 11 beats can be a tihai for Tintal because
3 x 11 = 33 = 2 x 16 + 1
and the 33rd beat of the composition will be the first beat (sam) of the third cycle of the composition in tintal. For more on the mathematics of tihai, see my note on the Mathematics of the Indian Rhythm System.
Tintal Tihai No. 1:
Ti Na Dha Ge Na Ti Na Dha Ge Na Ti Na Dha Ge Na Ti
Na Dha Ge Na Dha, -- Ti Na Dha Ge Na Ti Na Dha Ge Na
Ti Na Dha Ge Na Ti Na Dha Ge Na Dha, -- Ti Na Dha Ge
Na Ti Na Dha Ge Na Ti Na Dha Ge Na Ti Na Dha Ge Na
Dha.
Tintaal Tihai No. 2:
Ka Ta Dha Ti Dha Ge Na Na Ti Dha Ge Na Dha Ti Dha Ga
Tu Na Ke Na Dha, -- Ka Ta Dha Ti Dha Ge Na Na Ti Dha
Ge Na Dha Ti Dha Ga Tu Na Ke Na Dha, -- Ka Ta Dha Ti
Dha Ge Na Na Ti Dha Ge Na Dha Ti Dha Ga Tu Na Ke Na
Dha.
Tintal Tihai No. 3:
Te Te Dha Ge Na Te Te Dha Ge Na Te Te Dha Ge Na Te
Te Dha Ge Na Dha,-- Te Te Dha Ge Na Te Te Dha Ge Na
Te Te Dha Ge Na Te Te Dha Ge Na Dha,-- Te Te Dha Ge
Na Te Te Dha Ge Na Te Te Dha Ge Na Te Te Dha Ge Na
Dha.
Tintal Tihai No. 4:
Te Te Ka Tha Ga Di Ge Ne Dha -- Ti Dha -- Ti Dha --
Ti Dha -- Ti Dha, -- Te Te Ka Tha Ga Di Ge Ne Dha --
Ti Dha -- Ti Dha -- Ti Dha -- Ti Dha, -- Te Te Ka Tha
Ga Di Ge Ne Dha -- Ti Dha -- Ti Dha -- Ti Dha -- Ti
Dha.
Tintal Tihai No. 5:
Te Te Ka Tha Ga Di Ge Ne Dha -- Din -- Dha -- -- --
Te Te Ka Tha Ga Di Ge Ne Dha -- Din -- Dha -- -- --
Te Te Ka Tha Ga Di Ge Ne Dha, -- -- -- Te Te Ka Tha
Ga Di Ge Ne Dha -- Din -- Dha -- -- -- Te Te Ka Tha
Ga Di Ge Ne Dha -- Din -- Dha -- -- -- Te Te Ka Tha
Ga Di Ge Ne Dha, -- -- -- Te Te Ka Tha Ga Di Ge Ne
Dha -- Din -- Dha -- -- -- Te Te Ka Tha Ga Di Ge Ne
Dha -- Din -- Dha -- -- -- Te Te Ka Tha Ga Di Ge Ne
Dha.
Acknowledgments. In the years between 1997 and 2003, I did research on Indian music, in particular Hindustani sangeet. On this path, Margrith Sengupta, Lakshman Rai, and Pandit Arvind Parikh (master of Indian sitar) helped me and I am grateful to all of them.
References.
[C]: David R. Courtney, Fundamentals of Tabla, Vol. I, Sur Sangeet Services, Houston, 1998.
[D]: Aloke Dutta, Tabla (Lessons and Practice), 2nd Edition, Texas, 1995.
Date of Publication: April, 4th 2002.