Taals

Vibhag 4 · Taali on 1

A brisk 4-matra Gurmat Sangeet cycle — tight, driving, and forward-leaning. Used to keep a fast pulse under vaars and jaikaaray.

In kirtanDhadhi jathas and pakhawaj/jori players use pauri taal to accompany vaars and heroic ballads at fast tempos.

Vibhag 3 + 3 · Taali on 1 · Khaali on 4

Light, swinging 6-beat cycle — a lullaby feel. The shortest of the common kirtan taals.

In kirtanLight shabads, bhajans, soohi-style love-of-the-divine compositions, and many ladies' kirtan settings.

Vibhag 3 + 2 + 2 · Taali on 4, 6 · Khaali on 1

7 matras starting on khaali — gives a floating, almost off-balance feeling that resolves on the sam.

In kirtanBhajans, ghazals and many devotional shabads. Often used for chhants set in slow-to-medium tempo.

Vibhag 4 + 4 · Taali on 1 · Khaali on 5

Easy, walking 8-beat cycle — the workhorse of folk and devotional music.

In kirtanFolk-style kirtan, harmonium-led sangat singing, and most modern shabads sung outside the strict raag tradition.

Vibhag 4 + 2 + 3 · Taali on 1, 5, 7

A 9-matra classical cycle — asymmetric and lifted, sitting between jhaptaal and ektaal in feel.

In kirtanClassical raag-based kirtan and dhrupad-leaning shabad recitals where an odd-count taal is wanted.

Vibhag 2 + 3 + 2 + 3 · Taali on 1, 3, 8 · Khaali on 6

10 matras split 2-3-2-3 — gentle, lilting, asymmetric. Sounds neither even nor uneven.

In kirtanMadhya laya khayal and bhajans. Heard in dhrupad-leaning shabad kirtan and in classical raag presentations.

Vibhag 2 + 2 + 2 + 2 + 2 · Taali on 1, 3, 7, 9 · Khaali on 5

A 10-matra pakhawaj-family cycle with a bright, alert gait. Constantly leaning forward.

In kirtanDhrupad-ang and short Gurmat Sangeet recitals where a quick, bright rhythmic feel is wanted. Sometimes used as a teaching taal for odd-cycle counting.

Vibhag 2 + 2 + 2 + 2 + 2 · Taali on 1, 3, 7, 9 · Khaali on 5

A pakhawaj taal of 10 matras — bold and martial, related to chartaal in feel.

In kirtanDhrupad and dhamar compositions. Heard in classical Gurmat Sangeet on pakhawaj/jori.

Vibhag 3 + 2 + 2 + 4 · Taali on 1, 4, 6, 8

An 11-matra pakhawaj cycle with a fierce, off-kilter gait — named for Rudra (the fierce form of Shiva). Demands a steady hand to keep the asymmetric divisions in place.

In kirtanDhrupad-ang shabad kirtan in pure raag settings, especially on pakhawaj and jori.

Vibhag 2 + 2 + 2 + 2 + 2 + 2 · Taali on 1, 5, 9, 11 · Khaali on 3, 7

The principal pakhawaj taal of dhrupad — solid, weighty and architectural. Played on jori and pakhawaj, not usually on tabla.

In kirtanDhrupad-style shabad kirtan, especially in the Adi Granth raag tradition and at Sri Hazoor Sahib and Buddha Dal kirtan.

Vibhag 2 + 2 + 2 + 2 + 2 + 2 · Taali on 1, 5, 9, 11 · Khaali on 3, 7

Open, expansive cycle of 12 matras — gives space for alaap and slow elaboration. The 'Dha-ge Tirkit' opening is unmistakable.

In kirtanVilambit khayal and slow shabad-khayal. Common in dhrupad-style kirtan on jori and pakhawaj when sped up.

Vibhag 3 + 4 + 3 + 3 · Taali on 1, 4, 8, 11

A 13-matra victory taal — uplifted and triumphant, all taali, no khaali. The unevenness gives it a forward-leaning, processional feel.

In kirtanHeard in dhrupad and pakhawaj-led Gurmat Sangeet recitals on celebratory shabads and jaikaaray compositions.

Vibhag 2 + 4 + 4 + 4 · Taali on 1, 3, 11 · Khaali on 7

A cross-rhythmic 14-matra taal — feels 'ada' (slanted) against the pulse.

In kirtanMadhya-laya khayal and shabad-khayal in pure classical kirtan.

Vibhag 3 + 4 + 3 + 4 · Taali on 1, 4, 11 · Khaali on 8

14 matras with a graceful, swaying gait — much loved in thumri and the lighter raagas.

In kirtanThumri-ang shabads and chhants, especially in pilu, kafi and tilang influenced kirtan.

Vibhag 5 + 2 + 3 + 4 · Taali on 1, 6, 11 · Khaali on 8

A 14-matra pakhawaj taal associated with Holi compositions — bold, festive and uneven.

In kirtanDhamaar shabads and pakhawaj-led kirtan, especially in spring-themed compositions in basant and hori-ang.

Vibhag 3 + 4 + 3 + 4 · Taali on 1, 4, 11 · Khaali on 8

A heavy 14-matra vilambit cycle — meditative and rolling, suited to slow khayal.

In kirtanSlow khayal-style shabads in deep raagas like darbari, malkauns and bageshri.

Vibhag 3 + 4 + 4 + 4 · Taali on 1, 4, 8, 12

A 15-matra Gurmat Sangeet sawari cycle — uneven, majestic, and lifted. Divided 3-4-4-4 with four taalis and no khaali.

In kirtanClassical raag-based shabad kirtan in the Gurmat Sangeet tradition, especially on jori and pakhawaj where the asymmetric gait can be held with weight.

Vibhag 4 + 4 + 4 + 4 · Taali on 1, 5, 13 · Khaali on 9

The 'Punjabi' variation of teental — same 16 matras, but with held beats that give the cycle a rolling Punjabi gait.

In kirtanVery common in modern Punjabi kirtan and in shabads sung at Sikh diwans.

Vibhag 4 + 4 + 4 + 4 · Taali on 1, 5, 13 · Khaali on 9

The most widely used taal — balanced, even, and stately. Sits well in medium and fast tempos.

In kirtanThe default tabla taal for most shabad kirtan in vilambit, madhya and drut laya. Used for partaals, chhants and most rabab/dilruba shabads.

Vibhag 4 + 4 + 4 + 4 · Taali on 1, 5, 13 · Khaali on 9

16 matras like teental, but a more elaborate theka — open and breathing, with a long 'Tirkit' on matra 2. A vilambit khayal taal.

In kirtanVilambit khayal. In kirtan, used for slow exploratory shabad-khayals in pure classical settings.

Vibhag 4 + 4 + 3 + 3 + 3 · Taali on 1, 5, 9, 12, 15

A grand 17-matra pakhawaj cycle — the 'hunting' taal. Long, sweeping divisions give space for elaborate alaap and bol-baant.

In kirtanDhrupad and Gurmat Sangeet recitals on jori/pakhawaj. Used in larger raag presentations where the rhythmic canvas needs to be wide.

Not a single taal — partaal means the taal itself changes within the shabad. Each section (pad / antara) is set to a different taal, often shifting between roopak, jhaptaal, teental and ektaal.

In kirtanMany Gurbani partaal shabads are explicitly titled 'Partaal' in SGGS (e.g. Aasa M5 Partaal, Sorath M5 Partaal). A signature feature of Sikh raag kirtan, demonstrating mastery of multiple taals in one composition.