# Beats — Common Nepali Taals (Rhythm Cycles) From the Rhythm room: Cycles, Catalogue (/sangeet-yatra/rhythm/). 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 (sixteen steps, counted as sixteenths in one bar; the [Rhythm room](/sangeet-yatra/rhythm/timelines.md) counts the same pattern as two bars of eighths, which is the same sound). 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. --- ## Phrases the Crowd Knows (bonus) Words and chants most people can already say, written as bols. The rhythm is the one the Rhythm room lists (/sangeet-yatra/rhythm/phrases.html); only the strokes are new. **Ghin** is the stomp, **Taak** the clap or the spoken word, **Taang** the long ring. Say the words, then play them. **Two, four, six, eight** *(Cheerleading)* — Two bars, sixteen eighths. The numbers land one to a beat, then the question runs twice as fast and ends in silence. ``` Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & Bol: Taak – Taak – Taak – Taak – Taak Taak Taak Taak Taak Taak Taak – ``` **Ba-dum-tss** *(joke)* — Three quick strokes and then nothing. The open Taang is the cymbal; let it ring for the groan. ``` Count: 1 & 2 & 3 & 4 & Bol: Taak Taak Taang – – – – – ``` **Stomp, stomp, clap** *(Queen)* — Ghin Ghin Taak and a rest. Count four beats; the fourth is the silent one. ``` Count: 1 2 3 4 Bol: Ghin Ghin Taak – ``` **Stadium clap** *(crowd)* — The shout is Ghin on every beat of the first bar, then five claps on Taak. Two bars, counted as eighths. ``` Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & Bol: Ghin – Ghin – Ghin – Ghin – Taak – Taak – Taak Taak Taak – ``` **Beethoven's Fifth** *(Beethoven)* — Rest, three short Taak, then a held open Taang. The long note is the half note. ``` Count: 1 & 2 & 3 & 4 & Bol: – Taak Taak Taak Taang – – – ``` **Seven Nation Army** *(The White Stripes)* — Dha for every note of the riff, two bars of sixteenths. Slow, with a metronome: the short notes are easy to rush. ``` Count: 1 e & a 2 e & a 3 e & a 4 e & a 1 e & a 2 e & a 3 e & a 4 e & a Bol: Dha – – – – – Dha – Dha – – Dha – – Dha – Count: 1 e & a 2 e & a 3 e & a 4 e & a 1 e & a 2 e & a 3 e & a 4 e & a Bol: Dha – – – – – – – Dha – – – – – – – ``` **La Cucaracha** *(Mexican folk song)* — Three bars of 3/4. The first is a pickup: it starts silent and the three quick Taak arrive on the and of 2. Ghin is the long first note, Taang rings for the second, and the last bar ends on Taang held for two beats. ``` Count: 1 & 2 & 3 & 1 & 2 & 3 & 1 & 2 & 3 & Bol: – – – Taak Taak Taak Ghin – Taang Taak Taak Taak Ghin – Taang – – – ``` ## 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.*