A question often asked by the students of Tabla is why a rhythm pattern of 16 Matras or 16 beats is called Tin Taal or Tri Taal? What is the significance of tin or three (numeric) in a 16 beats rhythm cycle? The answer is, there are three claps or Tin Taalis involved in Tin Taal to keep the rhythm alive, namely, on the 1^st beat (matra), the 5^th beat (matra) and the 13^th beat (matra). On the 9^th beat (matra) the clap is omitted. It’s also called no clap or un-clap. So, in Tin Taal there are three Taalis (claps) and one Khali (no clap) – hence its called Tin Taal.

It is very important for the students of Tabla to know that unlike any other drums in the world, Tabla has it its own tongue. In other words, it has its own language, its own vocabulary, and its own idiosyncrasies. Each syllable or bol of Tabla must be recited in a poetic/rhythmic format. In India Tabla Gurus teach classes in which they train students to speak the bols precisely. This rhythmic verbal exercise, also known as Tabla chants, plays a very important role in the training of a Tabla player, because it helps him/her grasp the intricacies of taal structure and complex compositions. It is said that if the bol of a taal is not chanted clearly then one can not play the Tabla clearly. This becomes very evident when a Tabla player performs Tabla solo concerts. Often times, it happens that a Tabla player, in a solo concert, chants the bols of a taal, for example, Tin Taal, and then plays it on the Tabla. This also helps the audience understand the rhythmic complexity and the thought process that goes behind the compositions. These compositions are created by the maestros and then passed on to the students through the ages.

Tin Taal or 16 matras is also known as the "mother of all Taals" as many Pundits would call it. Every student, beginning to learn Tabla from a Guru, is introduced to this taal first. This taal prepares a student with the very basic tenets of technical proficiency and a sense of aesthetic sensibility through different compositions, patterns, and finger exercises. This taal also injects a sort of raw confidence in a student when he/she sees how a rhythmic expression flows without getting into any complications. In addition, since it is easily countable and verbally chant-able, even a beginner can keep track of the structure. Indirectly, this taal also prepares a student of Tabla to learn the permutation and combination of rhythmic exercises. Sometimes, it happens unconsciously in a student’s mind. Let me use an example to explain this: Let’s assume for a moment that a student is learning 16 matras in its theka form and at the same time a Khanda jaati (5 beat) or a Tisra jaati (6 beats) cyclical movement is on the rise, either through a melody or through a rhythmic exercise like a peshkaar or a kaida vistaar. The natural bent of a serious student’s mind will be to go after the application of the pattern. Thus, when practicing or playing this application, the student will learn three taals, unknowingly. That’s the beauty of learning Tin Taal. We will talk more about Khanda Jaati (5 beats) and Tisra Jati (6 beats) on another occasion but, to learn the Tabla, one must always remember to keep the practice sustained. There is simply no substitute for practice.

- Debu Nayak- February 19, 2002.