
Sooltaal, also referred to as Shultal, is a significant rhythmic cycle in Hindustani classical music, predominantly used in the majestic Dhrupad style. Comprising 10 beats (matras) organized into five equal divisions (vibhags) of two beats each, it is characterized by its brisk, energetic tempo. Claps (tali) occur on the first, fifth, and seventh beats, while empty beats (khali) are marked on the third and ninth. Traditionally performed on the Pakhawaj, its open and resonant strokes create a powerful atmosphere, making it ideal for Dhrupad compositions and instrumental solos.
2-2-2-2-2
Total: 10 beats
X 0 2 3 0
X = Sam (Clap)
Numbers = Tali (Clap)
0 = Khali (Wave)
Visual representation of divisions, clap patterns, and beat positions
| Maatra | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| Bol | Dhaa | Dhaa | Din | Taa | Ki T | Dhaa | Ti T | Ka T | Ga Di | Ga Na |
| Sign | X👏 (Clap) | 0👋 (Wave) | 2👏 (Clap) | 3👏 (Clap) | 0👋 (Wave) | |||||
Starting beat with clap
Empty beat with wave
| Maatra | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| Bol | Dhaa Dhaa | Din Taa | KiT Dhaa | TiT KaT | GaDi GaNa | Dhaa Dhaa | Din Taa | KiT Dhaa | TiT KaT | GaDi GaNa |
| Sign | X👏 (Clap) | 0👋 (Wave) | 2👏 (Clap) | 3👏 (Clap) | 0👋 (Wave) | |||||
| Maatra | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| Bol | Dhaa Dhaa Din | Taa KiT Dhaa | TiT KaT GaDi | GaNa Dhaa Dhaa | Din Taa KiT | Dhaa TiT KaT | GaDi GaNa Dhaa | Dhaa Din Taa | KiT Dhaa TiT | KaT GaDi GaNa |
| Sign | X👏 (Clap) | 0👋 (Wave) | 2👏 (Clap) | 3👏 (Clap) | 0👋 (Wave) | |||||
| Maatra | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| Bol | Dhaa Dhaa Din Taa | KiT Dhaa TiT KaT | GaDi GaNa Dhaa Dhaa | Din Taa KiT Dhaa | TiT KaT GaDi GaNa | Dhaa Dhaa Din Taa | KiT Dhaa TiT KaT | GaDi GaNa Dhaa Dhaa | Din Taa KiT Dhaa | TiT KaT GaDi GaNa |
| Sign | X👏 (Clap) | 0👋 (Wave) | 2👏 (Clap) | 3👏 (Clap) | 0👋 (Wave) | |||||
Sooltaal, also referred to as Shultal, is a significant rhythmic cycle in Hindustani classical music, predominantly used in the majestic Dhrupad style. Comprising 10 beats (matras) organized into five equal divisions (vibhags) of two beats each, it is characterized by its brisk, energetic tempo. Claps (tali) occur on the first, fifth, and seventh beats, while empty beats (khali) are marked on the third and ninth. Traditionally performed on the Pakhawaj, its open and resonant strokes create a powerful atmosphere, making it ideal for Dhrupad compositions and instrumental solos.
X = Sam (Clap) • Numbers = Tali (Clap) • 0 = Khali (Wave)
X = Sam (Clap) • Numbers = Tali (Clap) • 0 = Khali (Wave)
X = Sam (Clap) • Numbers = Tali (Clap) • 0 = Khali (Wave)