Tabla taals on text

The common taals in Hindustani classical music Are:

Dadra - 6 matras

X                    0
dhin dhin na | dha thun na
Many variations of this theka exist, some going by the name khemta.
Rupak (7 matras)

0             1             2
tin tin na | dhin na | dhin na

Tivraa - 7 matras
(khula bols)
X               2             3
Dha din ta | tite kata | gadi ghene
OR
X                        2         3
Dha dhere naga | kat ta | dhere naga
Kaharvaa - 8 matras
X                    0
Dha ge na tin | na ka dhi na
Kaharvaa has countless variations, including dhumaali, "bhajani", and qawwali
etc. It is often counted as 4
matras.

Jhaptaal - 10 matras
X            2                  0         3
Dhin na | dhin dhin na | tin na | dhin dhin na

Ektaal 12 Matras
X              0             2        0          3                      4
Dhin dhin | dha dha | tu na | kat ta | dhage terekite | dhin dhage

Chautaal - 12 matras
(khula bols)
X etc. like Ektaal
Dha dha | din ta | kat tage | din ta | tete kata | gadi gene
Ara Chautaal - 14 matras
X 0 2 0 3 4 5
Dhin terekite | dhin na | tu na | kat ta | terekite dhin | na dhin |dhin na

Dhamaar - 14 matras
(khula bols)
X 2 0 3
Ka dhe te dhe te | dha - | ga te te | te te ta -
OR
Ka dhe te dhe te | dha - | ga di na | di na ta -

Tintal - 16 matras

X 2 0 3
Dha dhin dhin dha | dha dhin dhin dha | dha tin tin ta | tete dhin dhin dha
The theka becomes very ornamented in slow speeds. The "tete" of 13th matra can
also be played "ta" or "tre
kre". "ta" is often pronounced "na" for euphony. Strictly speaking, "terekite"
should never be substituted for
"dhin" of 2nd matra as this brings in the unwanted shadow of tilwara tal.

Sitaarkhaani - 16 matras
Vibhags as for tintal
Dha gedhin -ge dha | dha gedhin -ge dha | dha getin -ke ta | ta kedhin-ge dha

Matta taal - 18 matras
X 0 2 0
Dhin terekite | dhin na | ti--kre tina | terekite tina | kena dhidhi|
4 5 6 0
nadhi dhina | dhina gadha | terekite dhina | gadha terekite

Tivra - 7 beats
(khula bols)
X 2 3
Dha din ta | tete kata | gadi ghene
OR
Dha gere naga | ga di | gere naga
X            2                          0                  3
Dhin na | dhi--kre dhidhi na | ti--kre titi na | dhina gadha terekite

Dipchandi - 14 matras
X                2                   0          3
Dha dhin - | dha dha tin - | ta tin - | dha dha dhin -
The last four matras can be played "dha dha dhin dhin". Some tabla players put
"na" in the gaps.

Sultaal - 10 beats
(khula bols)
X             0         2             3              0
Dha dha | din ta | tete dha | tete kata | gadi gene

Jhumra tal - 14 beats
X                           2                                   0              
3
Dhin -dha terekite | dhin dhin dhage terekite | tin -ta terekite | dhin dhin
dhage terekite

Tilwara - 16 matras
X                                 2                        0
Dha terekite dhin dhin | dha dhage tin tin | ta terekite dhin dhin | dha dhage
dhin dhin
Used for vilambit vocal, a variant of tintal.

Upatal Jhampak (also known as Roopam) - 8 1/2 matras
X            2                  0         3
Dhin na | dhin dhin na | tin na | dhidhi na/2 |
Division Of Beats:

Tintal 16 beats divided 4-4-4-4   
Dhamar tal 14 beats divided 5-2-3-4   
Ektal and Chautal 12 beats divided 2-2-2-2-2-2   
Jhaptal 10 beats divided 2-3-2-3   
Kaharva tal 8 beats divided 4-4   
Rupak tal 7 beats divided 3-2-2   
Dadra tal 6 beats divided 3-3   
Adha-Chautal  14 beats divided 2-4-4-4. 

Tabla introdaction

Tabla

---

tab·la (tä'blə, tŭb'lə) n.
A small hand drum of northern India.
[Hindi tablā, from Arabic ṭabla, from Aramaic ṭabl, drum, perhaps of Persian origin; akin to Middle Persian tumbag,

Tabla is a pair of drums. It consists of of a small right hand drum called dayan and a larger metal one called bayan.
The tabla has an interesting construction. The dayan (right hand drum) is almost always made of wood. The diameter at the membrane may run from just under five inches to over six inches. The bayan (left hand drum) may be made of iron, aluminium, copper, steel, or clay; yet brass with a nickel or chrome plate is the most common material. Undoubtedly the most striking characteristic of the tabla is the large black spot on each of the playing surfaces. These black spots are a mixture of gum, soot, and iron filings. Their function is to create the bell-like timbre that is characteristic of the instrument.
Although the origin of tabla is somewhat obscure, it is generally belived that it evolved from the barrel shaped drum called pakhawaj. This was about three hundred years ago.
The tabla is the most popular percussion instrument used in the classical and popular music of the northern regions of South Asia (Afghanistan, Bangladesh, Nepal, northern India, Pakistan). The history of this instrument is at times the subject of heated debate. Reliable historical evidence places the invention of this instrument in the 18th century. Another common historical narrative portrays the tabla as being thousands of years old, yet this is mere conjecture, based on slipshod interpretations of iconography. The term tabla is an Arabic word which means "drum", and this attests to its status as a product resulting from the fusion of musical elements from indigenous Hindu and Central Asian Muslim cultures that began in the late 16th century.

Nomenclature and construction

The smaller drum, played with the dominant hand, is called dāyāñ (lit. "right"; a.k.a. dāhina, siddha, chattū) and can also be referred to individually as "tabla." It is made from a conical piece of wood hollowed out to approximately half of its total depth. One of the primary tones on the drum is tuned to a specific note, and thus contributes to and complements the melody. The tuning range is limited although different dāyāñ-s are produced in different sizes, each with a different range. For a given dāyāñ, to achieve harmony with the soloist, it will usually be necessary to tune to either the tonic, dominant or subdominant of the soloist's key.
The larger drum, played with the other hand, is called bāyāñ (lit. "left"; aka. dagga, duggī, dhāmā). It is a bowl shape made of metal (or sometimes clay or wood, although not favored for durability). It has a much deeper bass tone, much like its distant cousin, the kettle drum.
The playing technique for both drums involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds. On the bāyāñ the heel of the hand is also used to apply pressure, or in a sliding motion, so that the pitch is changed during the sound's decay. This "modulating" effect on the bass drum and the wide range of sounds possible on the instrument as a whole are the main characteristics that make tabla unique among percussion instruments.
Both drum shells are covered with a head (or puri) constructed from goat or cow skin. An outer ring of skin is overlaid on the main skin and serves to suppresses some of the natural overtones. These two skins are bound together with a complex woven braid that also gives the entire assembly enough strength to be tensioned onto the shell. The completed head construction is affixed to the drum shell with a single continuous piece of cow or camel hide strap laced between the braid of the head assembly and another ring (made from the same strap material) placed on the bottom of the drum. The strap is tensioned to achieve the desired pitch of the drum. Additionally, cylindrical wood blocks are inserted between the strap and the shell allowing the tension to be adjusted by their vertical positioning. Fine tuning is achieved by striking vertically on the braided portion of the head using a small hammer.
The skins of both drums also have an inner circle on the head referred to as the siyāhī (lit. "ink"; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from cooked rice mixed with a black powder of various origins. The precise construction and shaping of this area (especially on the smaller drum) is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch and variety of tonal possibilities unique to this instrument. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument.
For stability while playing, each drum is positioned on a toroidal bundle called chutta, consisting of plant fiber or another malleable material wrapped in cloth.

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