Teen Taal gained prominence during the medieval period , under the guidance of Mian Tansen , of Akbar ’ s court . Tansen ’ s compositions in Teen Taal catapulted the popularity of this throughout the Indian subcontinent .
The rhythmic texture and rich tapestry of the body of Indian classical music need a complimentary power packed punch of cadence and versatile genius . Structurally , the 16 beats divided into four equal groups , aligns with the dhrupad and khayal styles of classical singing , offering musicians a wide room of experimentation within the realms of musical grammar . Adaptability has been the key for the rising popularity of this nuance of classical music .
The Teen Taal consists of 16 beats , divided into four equal groups , with each group containing four beats . The following notations illustrate the rhythmic pattern :
DHA DHIN DHIN DHA | DHA DHIN DHIN DHA | NA TIN TIN TA | TETE DHIN DHIN DHA
The ‘ bol ’ of the percussions like a tabla represents the syllables and follows a pattern of ( 1 2 3 4 ) x4
There are numerous bandishes in the world of Teen Taal . They are rendered popular through the easy pollination of various ideas within the scope of the taal framework . A melodic superstructure is made on the foundation of such bols . The rhythmic patterns make up for a beautiful trance-like experience for the listeners .
The beauty of teen taal is in its suitability to be used in case of both , meditative compositions and fast-paced , exhilarating performances . In alaaps and vilambit khayals , Teen Taal makes room for longer bols , thus eliciting a deeper understanding . The permutations and combinations within the Teen Taal can create a world of possibilities .
The tihaai is another interesting off shoot of the practicing culture of this taal . This essentially comes from the innovations of the rhythmic repetitions of three phrases at the end of a piece by a table player .
It is important to note that there are other equally well practised forms of Taal prevalent in classical music-
Ek Taal ( 12 beats ): Ek Taal consists of 12 beats divided into six equal sections of two beats each .
Unlike Teen Taal , Ek Taal is shorter , with 12 beats instead of 16 .
Jhap Taal ( 10 beats ):
Jhap Taal comprises 10 beats divided into four equal sections of two and a half beats each . The even divisions of Teen Taal are nowhere to be found here .
Rupak Taal ( 7 beats ):
Rupak Taal has seven beats divided into three equal sections of two beats and one section of a single beat . This can be heard in thumris .
Dadra Taal ( 6 beats ): Dadra Taal is a 6-beat taal , consisting of two equal sections of three beats each .
Each taal brings its own rhythmic character , mood , and possibilities , making them suitable for different musical contexts and expressions . But Teen Taal remains a cornerstone of Indian classical rhythm .
The balance between melody and rhythm highlights the elevated musical experience that these compositions generate . Teen Taal ’ s ubiquity is a testament to its enduring appeal . Over the ages of development and practice in the field , the one with the most possibilities of exploration and experiments has survived the test of time . Teen Taal remains an enduring symbol of rhythmic sophistication and artistic brilliance .
The Score Magazine highonscore . com
17