Tintal the King of Indian Talas

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)."

Tintal the King of Indian Rhythms

by Peyman Nasehpour

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: 

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

 

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


"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

 

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

 

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

 

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

 

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".


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

 

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

 

 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.

 

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.

 

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.

 

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.

 

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.

 

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.