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When improvising around a composition, the composition provides a melodic and rhythmic framework for improvisation.

The tabla is a set of two drums of different sizes and timbers that are played simultaneously by tapping on them with the hands in various ways to produce different kinds of sounds.

These sounds are then strung together in sequences to create different rhythm patterns to accompany musical performances.

Of course, these are just vocalizations of the actual sounds produced by the tabla.

They are called bol, and it is these bols that are combined in various ways to get many interesting rhythm patterns.

Below are some examples of taals popularly used in various genres within Hindustani classical music.

For instance, Teentaal (16 beats) is made up of four sections of four beats each, while Ektaal (12 beats) is made up of six sections of two beats each.

Ruupak (7 beats) is asymmetric - it has three sections of three, two, and two beats respectively.

All the sections taken together represent one complete cycle of the taal.

Technically, all rhythm is cyclical because it repeats over and over again.

In Indian classical music, longer patterns of 16 beats or 12 beats are very commonly used, and these cannot be understood or applied to music correctly unless they are viewed cyclically.

The first two videos use raga compositions set to Ektaal (a 12-beat rhythm cycle) and Teentaal (a 16-beat rhythm cycle) to show how compositions in Indian classical music are set to rhythm.

The third video demonstrates improvisation in Indian classical music within the framework of a composition and its taal, which reinforces why it is so important to see taal as a cycle.

Pay attention to how every line of the composition fits exactly into the Ektaal cycle.

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Not all compositions begin on the first beat of the rhythm cycle, nor does every single line of a composition have to fit exactly into the full length of the cycle.

Why Because not all compositions are designed to sound like a march, and their accented and unaccented syllables may not fit exactly into the taal s groove.

Still, to the extent possible, it is nice to be able to match accented and unaccented portions of the composition with those of the taal.

The way we do this is by matching the most emphatic syllable in each line of the composition with the first beat of the taal cycle.

In this composition, the syllable indicated in bold is the most emphatic one in each line.

Each line is accordingly structured so that this emphatic syllable falls on the first beat of the cycle.

As a result, the compositions accented and unaccented syllables end up fitting quite nicely into the groove of the Teentaal rhythm.

It is played emphatically to mark the beginning of the cycle.

Since compositions are structured so that the most emphatic syllable of each line falls on the first beat of the rhythm cycle, the combination of emphasis in both rhythm and melody makes the sam very recognizable for the audience, and because of this, it plays a very important role in classical music performances.

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