Teental

Shri Anand Lahiri is a renowned Tabla player from the Benares gharana who gained his mastery under the tutelege of the great Pandit Kishan Maharaj. In this exposition on Teental he takes us through one of the most popular taals in Hindustani classical music and discusses its various rhythmical patterns.

Instructor: Anand Lahiri

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Enrolled Students

20

Suggested Time

30 days

Pricing

Free

Language

English/Hindi

Rating

-

Unit 1: Concepts I

Introduction & Uthan 10 min

One of the most recognizable and popular Taal's in Hindustani classical music, Teental derives it's name from the three claps of it's vibhag (division) stucture. The rhythmical sound is due to it's symmnetrical pattern composed of four vibhags of four matras each. It has 16 beats in four equal divisions where the first beat is called sam and the 9th beat is called khali. To count the Teental, the audience claps on .The vibhags are represented by the first beat, claps on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat i.e a clap, clap, wave, and a clap. The Uthan played here is a prelude or an overture to the major composition performed later and is a staple of percussion instruments such as tabla and Bamya.
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Unit 2: Concepts II

Aamat and Alaap 12 min

Aamat are compositions that are created on the spot where small tihais are played spontaneously. Alaap marks the beginning of the Teental composition where the musician improvises gradually by building up the tempo. It starts of slow in a somewhat rhythmless manner and builds up. The word alaap means a conversation and this is what is highlighted in this piece as it gives the player the freedom to experiment and work within the 16 beats of the taal.
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Baint 10 min

Baint is native to the Benaras school of music and it differs from the traditional kaida by it's variation in play. Here the dhanak dhanata is played.
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Unit 3: Concepts III

Bandish & Tukda 9 min

Bandish means 'binding together' and is a fixed composition set to a particular raag. Also called as cheez, they form the body of the music while singing. Madha laya is the bandish played here at two seconds a beat is a mid tempo beat and is twice as fast as the Vilambit bandish. Tukda is a melodic phrase composed within a number of matras or beat. It generally has simple bols and generally ends in a khulla bol.
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Tihai 8 min

Tihai ("three times") is a set of three successively executed musical parts, set on a similar rhythmic pattern designed to end at a specific point in the taal.  It signals the commencement of a new passage and at times is made to end on a point just preceding the Matra from which the Mukhda starts.
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