Today we are going to Learn “Teevra Taal” 7 Letter-Division-3-Taali-and no khaali Taali on-(1-4-6-) no khali .Teevra Taal (also spelled Tivra Taal) is a rhythmic cycle used in Indian classical music, particularly in the context of tabla playing. It is characterized by its unique structure and distinctive beats. Here is the definition of Teevra Taal:Here, the strokes “Dha,” “Dhin,” and “Ta” represent specific sounds produced on the tabla. The lack of Khaali in Teevra Taal means there are no silent beats, making it a continuous and energetic rhythmic cycle.
Interdusing-“Teevra Taal” 7 Letter-Division-3-Taali-2and khaali-1
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Tiwra Taal,” is a rhythmic cycle in Indian classical music, primarily used in the Dhrupad style and some semi-classical compositions. It is characterized by its 7-beat (matra) structure, making it relatively short compared to other talas, yet it adds a dynamic and energetic feel to compositions.
Structure and Composition
- Matras (Beats): 7
- Vibhags (Divisions): 3
- Taal Structure: 3+2+2
Beats in Each Division
- First Division: 3 beats (Dha Dhin Ta)
- Second Division: 2 beats (Dha Dhin)
- Third Division: 2 beats (Dha Tin)
Taali (Clap) and Khaali (Wave)
- Taali (Clap): Beat 1
- Khaali (Wave): Beat 4
Basic Theka (Tala Pattern)
The theka or base rhythm pattern for Tivra Taal is:
- Dha Dhin Ta | Dha Dhin | Dha Tin
This pattern is repeated in cycles and serves as the foundation for improvisation, especially in Dhrupad vocal and instrumental compositions.
Use in Indian Classical Music
- Tivra Taal is most commonly associated with Dhrupad, which is one of the oldest and most profound styles in Indian classical music.
- It is also used in semi-classical compositions and sometimes appears in other classical forms as a variant.
- The 7-beat cycle, being somewhat unusual, creates a unique rhythm that can give compositions a meditative, yet lively feel.
Variations and Improvisation
In performance, Tivra Taal allows room for variations and improvisations. Musicians and tabla players may vary the bols (syllables) or add layakari (rhythmic modulation) to adapt it to different compositions, giving it either a fast-paced or a slow, steady feel depending on the mood and setting.
If you’d like, I can also provide more specific examples or audio resources to help with understanding the flow and rhythm of Tivra Taal.