ABSTRACT
Tal derives from a Sanskrit word for the flat of the hand, and is linked to the act of clapping. A cheironomic system of hand gestures articulates the structure of these patterns. Hindustani tal is far from systematic, and one encounters discrepancies between musicians and stylistic traditions suggesting that, in all likelihood, formalizations of metre and rhythm have grown somewhat organically out of regional genres and repertoires that often had little in common. Clapping patterns are external representations of the structure of a tal. Ektal, like dadra, certainly gives every indication of being a compound metre. Within each group of six there is an undeniable metric tension created by inherent sesquialtera possibilities: duple patterns collide with triple patterns. Lay is an ancient concept whose meaning has changed over millennia.
