# Beats — Common Nepali Taals (Rhythm Cycles) A **taal** is a repeating rhythm cycle. A **theka** is the basic bol pattern that defines that taal. Below are the beats you'll actually use in Nepali folk and lok-pop music, ordered easiest → hardest. Each loops back to beat 1 (the **sam**, the most important landing point). ![An 8-beat taal cycle looping back to beat 1](images/madal-taal-cycle.png) *A taal is a circle, not a line: you play the pattern, then loop back to **beat 1 (sam)** — the strongest accent (shown in red at the top). Cleanly "landing on the 1" every cycle is the real skill.* Reference for strokes: [`01-basics.md`](01-basics.md). `|` marks division (vibhag) boundaries. `-` = rest / let ring. --- ## From strokes to a groove — in baby steps A whole taal can look busy. **Don't play it all at once.** For every beat below, build it up: 1. **Play just the bass pulse** — the Ghin/Dha "heartbeat." 2. **Add the high strokes** — Taang/Taak on top. 3. **Play the full theka slowly** with a metronome. 4. **Loop back to beat 1** cleanly, cycle after cycle. Each taal below has a **"Build it up"** progression — play those stages first, then the full pattern. ## Hand & technique key This applies to *every* beat and build-up step below: | Bol | Hand | Sound | |------|------|-------| | **Ghin** | Left hand (pothi) | open, ringing bass | | **Kha** | Left hand (pothi) | closed / damped | | **Taang** | Right hand (bhale) | open, bright treble | | **Taak** | Right hand (bhale) | closed / slap | | **Dha** | Both hands | full, resonant | On **khali** (wave) sections we drop the bass and play open **Taang**; on **tali** (clap) sections we anchor with a full **Dha**. --- ## 1. Khyali / Samala Taal — 4 beats (START HERE) The easiest and most popular entry beat among Newars of the Kathmandu Valley. Percussionist **Raju Maharjan** (Kutumba) teaches it for songs like *Resham Firiri*: “Ghin. Kha-Taang. Taak-Ghin. Ghin-Taang.” Source: [Kathmandu Post](https://kathmandupost.com/weekender/2020/03/06/ghin-kha-taang-taak-ghin-ghin-taang-it-s-that-simple) (short link: https://tkpo.st/32WczlS). **Build it up — Step 1** (bass pulse only, left hand on 1 & 4): ``` Count: 1 & 2 & 3 & 4 & Bol: Ghin - - - - - Ghin - ``` **Step 2** (add the high strokes): ``` Count: 1 & 2 & 3 & 4 & Bol: Ghin - Kha Taang - - Ghin Taang ``` **Full theka:** ``` Count: 1 & 2 & 3 & 4 & Bol: Ghin - Kha Taang Taak Ghin Ghin Taang ``` *Hands: the left (pothi) carries the Ghin/Kha bass and leads the pulse; the right (bhale) answers with open Taang and a crisp Taak slap.* Simplified 4-count feel: **"Ghin — Kha-Taang — Taak-Ghin — Ghin-Taang."** Loop it. This single beat already lets you accompany many simple songs. Target tempo: 60 → 100 BPM. --- ## 2. Maruni Taal — 4 beats As simple to learn as Samala, also taught by Raju Maharjan in the same [Kathmandu Post lesson](https://kathmandupost.com/weekender/2020/03/06/ghin-kha-taang-taak-ghin-ghin-taang-it-s-that-simple). Four counts: “Taang. Kha-Taang. Taang-Ghin. Ghin-Taang.” > Note: this is the **4-count Maruni *taal***. The **6/8 Jhyaure** feel used with > Maruni *dance* / lok geet is a different groove — see §4 below. **Build it up — Step 1** (anchors on 1 & 4 — open Taang, then Ghin): ``` Count: 1 & 2 & 3 & 4 & Bol: Taang - - - - - Ghin - ``` **Step 2** (add the “&” answers): ``` Count: 1 & 2 & 3 & 4 & Bol: Taang - Kha Taang - - Ghin Taang ``` **Full theka:** ``` Count: 1 & 2 & 3 & 4 & Bol: Taang - Kha Taang Taang Ghin Ghin Taang ``` *Hands: opens on the right (Taang) — brighter than Samala’s Ghin-on-1. The left answers with Kha on 2 and Ghin on 3&/4; keep the right crisp so the chant stays clear.* Target tempo: 60 → 100 BPM. --- ## 3. Sangini Taal — 3/4 (six counts) Also from Raju Maharjan’s Kathmandu Post lesson: six counts as **eighths in 3/4** — “Ghin. Ghin. Taang. Taak. Ghin. Taang.” Same bols as the lesson; felt as three beats with two bols each (not six slow quarter-notes). **Build it up — Step 1** (bass on beats 1 & 3): ``` Count: 1 & 2 & 3 & Bol: Ghin - - - Ghin - ``` **Step 2** (add the second Ghin and the open Taangs): ``` Count: 1 & 2 & 3 & Bol: Ghin Ghin Taang - Ghin Taang ``` **Full theka:** ``` Count: 1 & 2 & 3 & Bol: Ghin Ghin Taang Taak Ghin Taang ``` *Hands: two left-hand Ghins open beat 1; the right answers Taang–Taak on beat 2, then left Ghin and right Taang land on beat 3. Feel three pulses — the six counts are the “&” subdivisions.* Target tempo: 70 → 110 BPM. --- ## 4. Jhyaure Taal — 6/8 folk dance groove The quintessential Nepali folk-dance rhythm (often heard with Maruni *dance* / lok geet). Six **eighths** in two big beats (not six slow quarters), built on the Ghin-Ghin-Taang cell from Drill 2c. **Build it up — Step 1** (feel the two big beats, 1 & 2): ``` Count: 1 & a 2 & a Bol: Dha - - Ghin - - ``` **Full theka:** ``` Count: 1 & a 2 & a Bol: Dha Ghin Taang Ghin Kha Taang ``` *Hands: both hands strike together for the opening Dha; then the left (Ghin/Kha) and right (Taang) trade off to give the 6/8 its rolling lilt. Feel two pulses — the six counts are the eighth subdivisions.* This is *the* sound people picture when they think "madal." Get it flowing and danceable, not stiff. Target tempo: 90 → 140 BPM (BPM = the dotted-quarter dance pulse; meant to be lively). --- ## 5. Kaharba / Keherwa Taal — 4/4 (eight counts) The most common rhythm in South Asian light music — folk songs, modern Nepali songs, film music. If you learn one "real" beat, make it this one. Eight **eighths** in 4/4 (not eight slow quarters). **Build it up — Step 1** (bass pulse, beats 1 & 3): ``` Count: 1 & 2 & 3 & 4 & Bol: Dha - - - Ghin - - - ``` **Step 2** (add the treble backbeat, Taang on 2 & 4): ``` Count: 1 & 2 & 3 & 4 & Bol: Dha - Taang - Ghin - Taang - ``` **Full theka:** ``` Count: 1 & 2 & | 3 & 4 & Bol: Dha Ghin Taang Taak | Ghin Ghin Taang Kha Marker: X | 0 ``` *Hands: the left (pothi) lays down the Ghin bass and closes on Kha; the right (bhale) fills with Taang and a sharp Taak. Keep the left steady and let the right decorate. Feel four pulses — the eight counts are the “&” subdivisions.* Most Kaharba grooves actually *feel* like **3-3-2** internally, with a push around 4 leading back to the 1. A very common Nepali folk variant: ``` Count: 1 & 2 & 3 & 4 & Bol: Dha - Ghin Taang Taak - Ghin Taang ``` Target tempo: 70 → 120 BPM. --- ## 6. Dadra Taal — 3/4 (six counts) The standard 3/4 (waltz-like) light rhythm, used in ghazals, bhajans, and many folk songs. Six **eighths**: clap on beat 1, wave (khali) on 2&. **Build it up — Step 1** (clap on 1 vs. wave on 2&): ``` Count: 1 & 2 & 3 & Bol: Dha - - Kha - - ``` **Full theka:** ``` Count: 1 & 2 | & 3 & Bol: Dha Ghin Taang| Kha Ghin Taang Marker: X | 0 ``` *Hands: Dha (both hands) marks the clap on 1; the left Kha gives the open "wave" on 2&; the right Taang keeps the two halves lifting. Feel three pulses — the six counts are eighths.* Feel: **"Dha-Ghin-Taang, Kha-Ghin-Taang."** The X (sam) is strong; the 0 (khali) is soft/open. Target tempo: 70 → 110 BPM. --- ## 7. Rupak Taal — 7/8 (seven counts) A 7-count cycle of **eighths** (3+2+2). Unusual because it **starts on the khali (wave)** rather than a clap. Common in semi-classical and some folk songs. **Build it up — Step 1** (open start, bass on 2& and 3&): ``` Count: 1 & 2 & 3 & 4 Bol: Ghin - - Dha - Dha - ``` **Full theka:** ``` Count: 1 & 2 | & 3 | & 4 Bol: Ghin Taang Taak | Dha Ghin | Dha Ghin Marker: 0 | 1 | 2 ``` *Hands: it opens light on the right (Taang/Taak, the khali feel); the both-hands Dha on 2& and 3& grounds the two short groups, with the left Ghin tying it together.* Count it out loud as **"1-2-3, 1-2, 1-2"** until the odd length feels natural. Target tempo: 60 → 100 BPM. --- ## 8. Jhaptaal — 5/4 (ten counts) A 10-count cycle of **eighths** (2+3+2+3) for the more adventurous. Great for stretching your sense of time. **Build it up — Step 1** (mark the two group-starts, 1 & 3&): ``` Count: 1 & 2 & 3 & 4 & 5 & Bol: Dha - - - - Dha - - - - ``` **Full theka:** ``` Count: 1 & | 2 & 3 | & 4 | & 5 & Bol: Dha Ghin | Taang Taak Ghin | Dha Ghin | Taang Taak Ghin Marker: X | 2 | 0 | 3 ``` *Hands: the left Ghin threads through almost every count while the both-hands Dha marks the start of each group (1 & 3&); the right Taang/Taak decorates the longer halves.* Count **"1-2, 1-2-3, 1-2, 1-2-3."** Target tempo: 50 → 90 BPM. --- ## How to practice a beat 1. **Say it before you play it.** Speak the bols in rhythm, tapping your knees. 2. **Play at half your comfortable speed** with a metronome. 3. **Loop for 2–3 minutes** without stopping — cycling back to beat 1 cleanly is the real skill. 4. **Sing a song over it.** Put on any Nepali folk song in that feel and lock in. 5. Only then, **speed up by ~5 BPM** at a time. ## Suggested learning order `Samala (4)` → `Maruni (4)` → `Sangini (3/4)` → `Jhyaure (6/8)` → `Kaharba (4/4)` → `Dadra (3/4)` → `Rupak (7/8)` → `Jhaptaal (5/4)` Get the first four solid before touching the odd-meter ones (Rupak, Jhaptaal). --- ## World Beats — Grooves Borrowed from Other Traditions (bonus) Once the Nepali taals feel solid, these grooves from other great percussion traditions — remapped onto the madal's five bols — are a fun way to keep growing your timing, groove, and independence. Rough mapping: **Ghin/Dha = bass, Taang = open high, Taak = slap/click.** Start every one slow with a metronome. **Paradiddle** *(drum kit)* — the classic `R L R R · L R L L` sticking. The best pattern for making both hands equally strong. ``` Count: 1 & 2 & 3 & 4 & Bol: Taang Ghin Taang Taang Ghin Taang Ghin Ghin Hand: R L R R L R L L ``` **Tresillo** *(Latin / African)* — the 3+3+2 "heartbeat of the world." Count all 8, play only where marked. Trains syncopation. ``` Count: 1 & 2 & 3 & 4 & Bol: Dha - - Dha - - Dha - ``` **Son Clave (3-2)** *(Afro-Cuban)* — the master timekeeper of Latin music (one bar of 16ths). Play as dry `Taak` clicks. Trains rock-solid time. ``` Count: 1 e & a 2 e & a 3 e & a 4 e & a Bol: Taak - - Taak - - Taak - - - Taak - Taak - - - ``` **Maqsum** *(Arabic doumbek)* — the most common Middle-Eastern rhythm (Dum-Tek). Ghin = Dum (bass), Taak = Tek (crisp). Trains bass/treble contrast. ``` Count: 1 & 2 & 3 & 4 & Bol: Ghin Taak - Taak Ghin - Taak - ``` **Conga Tumbao** *(Cuban congas)* — a bass-slap-open-tone groove. Trains clean open-tone doubles after a slap. ``` Count: 1 & 2 & 3 & 4 & Bol: Ghin - Taak - Taang Taang - Taak ``` **12/8 Bell Pattern** *(West African)* — the standard "short bell" timeline (4 dotted beats × 3). Play as `Taak` clicks. Trains a compound 6/8 pulse. ``` Count: 1 & a 2 & a 3 & a 4 & a Bol: Taak - Taak - Taak Taak - Taak - Taak - Taak ``` **Shuffle / Swing** *(blues / jazz)* — triplet feel: play the 1st and 3rd of each triplet (long–short), skip the middle. Trains a swung, bouncy groove. ``` Count: 1 & a 2 & a 3 & a 4 & a Bol: Dha - Taang Dha - Taang Dha - Taang Dha - Taang ``` **Backbeat Groove** *(rock / cajón)* — kick-and-snare feel: bass (Dha) on 1 & 3, "snare" (Taak) on 2 & 4, steady Taang between. Trains a modern pop groove. ``` Count: 1 & 2 & 3 & 4 & Bol: Dha Taang Taak Taang Dha Taang Taak Taang ``` **Kaida (theme & variation)** *(tabla)* — state a *theme*, then a *variation* that reshuffles the same bols. Play theme → variation → theme, looping. Trains musical thinking, not just muscle memory. ``` Count: 1 & 2 & 3 & 4 & Theme: Dha Ghin Taang Taak Dha Ghin Taang Taak Var: Dha Ghin Dha Ghin Taang Taak Taang Taak ``` **Rumba Clave (3-2)** *(Afro-Cuban)* — the rumba cousin of the son clave, with its third stroke pushed a half-beat later. Play as dry `Taak` clicks. Trains a trickier, more syncopated clave. ``` Count: 1 e & a 2 e & a 3 e & a 4 e & a Bol: Taak - - Taak - - - Taak - - Taak - Taak - - - ``` **Bossa Nova** *(Brazilian)* — the smooth, evenly-spread clave of Brazilian jazz. Play as light `Taak` clicks. Trains a relaxed, gently-syncopated timeline. ``` Count: 1 e & a 2 e & a 3 e & a 4 e & a Bol: Taak - - Taak - - Taak - - - Taak - - Taak - - ``` **Baião** *(Brazilian)* — the bass-forward groove of Brazil's northeast (the zabumba drum). Trains a strong low-end pulse with a syncopated pickup into beat 2. ``` Count: 1 & 2 & 3 & 4 & Bol: Dha - - Dha Taak - Taang - ``` **Reggae One Drop** *(Jamaican)* — the signature reggae feel: **beat 1 is empty**, the bass "drop" lands on beat 3, and a Taang "skank" rides every `&`. Trains holding back the downbeat. ``` Count: 1 & 2 & 3 & 4 & Bol: - Taang - Taang Dha Taang - Taang ``` **Bhangra Chaal** *(Punjabi dhol)* — the bouncy "chaal" of Punjabi dhol, with paired slaps. Trains clean double-strokes (Taak Taak) and an upbeat lift. ``` Count: 1 & 2 & 3 & 4 & Bol: Dha - Taak Taak Dha - Taak Taak ``` **Cumbia** *(Colombian)* — a steady, danceable two-feel. Trains a relaxed bass-and-click groove that never rushes. ``` Count: 1 & 2 & 3 & 4 & Bol: Dha Taak - Taak Dha Taak - Taak ``` **Habanera** *(Cuban / Spanish)* — the dotted bass figure that *fathered* the tresillo (and a lot of Latin music). Trains the "long–short" swagger of a syncopated bass. ``` Count: 1 & 2 & 3 & 4 & Bol: Dha - - Dha Dha - Dha - ``` > **How to use these:** pick *one* per session, loop it 3–5 minutes slowly, then > layer it under a Nepali folk song. Once comfortable, combine them — e.g. play the > Tresillo with your right hand while keeping a steady bass Ghin on the beat with > your left. --- ## Eastern Classical — Tabla Taals Adapted for Madal (bonus) Important: these are **adaptations**, not authentic madal repertoire. The madal is a *folk* instrument; these taals come from the North-Indian classical tradition of the **tabla** (and, for the heavier ones, the **pakhawaj**). They're included because their cycles are superb timing and structure training. Each theka below is the standard classical pattern, translated to the madal's five bols like so: | Tabla bol | Madal | Why | |-----------|-------|-----| | Dha / Dhin | **Dha** | full, resonant (both hands) | | Ge / Ghe | **Ghin** | open left ring | | Ke / Kat / Ka | **Kha** | closed left | | Na / Ta / Tin | **Taang** | open treble, **no bass** — ideal for **khali** | | Tirakita / fillers | **Taak** | crisp click | On **khali** (wave) sections we drop the bass and play open **Taang**; on **tali** (clap) sections we anchor with a full **Dha**. ### Teentaal — 16 beats (4 + 4 + 4 + 4) The most common classical cycle. Tali (clap) on beats 1, 5, 13; the **khali is the whole 3rd group (9–12)** — played open, with no bass. That bass-drop is the sound of the cycle turning over. ``` Beats: 1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16 Bol: Dha Dha Dha Dha | Dha Dha Dha Dha | Taang Taang Taang Taang | Taang Dha Dha Dha Marker: X | 2 | 0 (khali) | 3 ``` *Hands: both hands together for the resonant Dha; for beats 9–12 (khali) lift the left off entirely and play open right-hand Taang — the missing bass is what marks the wave.* ### Ektaal — 12 beats (2 × 6) The tabla cousin of Chautaal, loved by vocalists. Tali on 1, 5, 9, 11; **khali on 3 and 7** (played open, no bass). ``` Beats: 1 2 | 3 4 | 5 6 | 7 8 | 9 10 | 11 12 Bol: Dha Dha | Taang Taak | Dha Taang | Taang Taak | Dha Taak | Dha Taang Marker: X | 0 | 2 | 0 | 3 | 4 ``` *Hands: the left lays a bass Dha on each clap (1, 5, 9, 11); the open right Taang/Taak fills between — especially at the khali beats 3 & 7, where there is no bass at all.* ### Chautaal — 12 beats (4 + 4 + 2 + 2) The stately pakhawaj taal of Dhrupad, all **open, powerful bols**. Claps on 1, 5, 9, 11. Keep every stroke deep and resonant. ``` Beats: 1 2 3 4 | 5 6 7 8 | 9 10 | 11 12 Bol: Dha Dha Dha Taang | Taak Dha Dha Taang | Taak Taak | Ghin Ghin Marker: X | 2 | 3 | 4 ``` *Hands: lean into the two-hand Dha for a heavy Dhrupad weight; finish the last group with ringing left-hand Ghin. This taal is about power and resonance, not speed.* ### Deepchandi — 14 beats (3 + 4 + 3 + 4) A graceful semi-classical taal (thumri, ghazal). Tali on 1, 4, 11; **khali on 8**. The dashes are its signature *pauses* that give it a swaying lilt. ``` Beats: 1 2 3 | 4 5 6 7 | 8 9 10 | 11 12 13 14 Bol: Dha Dha - | Dha Dha Taang - | Taang Taang - | Dha Dha Dha - Marker: X | 2 | 0 (khali) | 3 ``` *Hands: both-hands Dha on the claps; the khali group (8–10) is open right-hand Taang with no bass; let each pause (-) breathe its full length — that space* is *the groove.* ### Dhamar — 14 beats (5 + 2 + 3 + 4) The dignified Holi taal of Dhrupad, played with open pakhawaj bols. Tali on 1, 6, 11; **khali on 8**. Its lopsided 5-2-3-4 count is the challenge. ``` Beats: 1 2 3 4 5 | 6 7 | 8 9 10 | 11 12 13 14 Bol: Dha Dha Taang Dha Taang | Dha - | Taang Taang Taang | Dha Taang Taang - Marker: X | 2 | 0 (khali) | 3 ``` *Hands: anchor the claps (1, 6, 11) with a full two-hand Dha; run open right-hand Taang through the khali group (8–10); the two pauses (7 & 14) let the asymmetrical cycle turn over gracefully.*