Deepchandi: the 14-beat taal of thumri

Deepchandi taal

Count fourteen beats, then return to one. That repeating rhythmic cycle, or taal, is Deepchandi. Its beats fall into groups of 3 + 4 + 3 + 4, rather than equal groups.

Deepchandi is characteristic of thumri, a light classical form with ornamented singing centred on the words. Usually heard at a slow or medium tempo, it also accompanies some dadra, hori and other light classical forms.

Some beats are held rather than filled with another stroke. Those spaces give the rhythm its swaying feel and leave room for the singer to shape the words.

Deepchandi’s fourteen beats

Count from 1 to 14, then return to 1. That is one complete cycle of Deepchandi. A taal is a repeating rhythmic cycle, and each beat is called a matra. Deepchandi therefore has fourteen matras, including the beats held between strokes.

As you listen, keep counting through those held beats rather than skipping ahead to the next stroke. Deepchandi is usually heard at a slow or medium tempo. Let the full fourteen beats pass before starting your count again.

Deepchandi’s divisions and clap pattern

Clap on beat 1, then count 2 and 3 before the next clap. That first group is a vibhag, a division within the rhythmic cycle. Deepchandi has four such groups: 3 + 4 + 3 + 4.

A tali marks a division with a clap. Khali marks a division with a wave instead. Sam is the first beat of the cycle, where your count returns to 1.

• Beats 1, 2, 3: clap on 1, the sam.
• Beats 4, 5, 6, 7: clap on 4.
• Beats 8, 9, 10: wave on 8, the khali.
• Beats 11, 12, 13, 14: clap on 11.

Deepchandi’s theka and held beats

Now put sounds to the count. The theka is the repeating drum pattern of a taal, or rhythmic cycle. Deepchandi’s pattern follows its four groups, with “hold” marking a held beat:

• Beats 1 to 3: dha dhin hold
• Beats 4 to 7: dha dha dhin hold
• Beats 8 to 10: ta tin hold
• Beats 11 to 14: dha dha dhin hold

Those held beats give the pattern its slow, swaying feel. They also leave room for thumri’s singing to linger over words and decorate the melody.

Why Deepchandi is used for thumri

Those held beats leave room for a singer to ornament a word. That space suits thumri, a light classical vocal form centred on words and ornamented singing.

Deepchandi is characteristic of thumri, usually at a slow or medium tempo. Its held beats give the fourteen-beat cycle a swaying lilt, while leaving room for the voice.

The connection is not just the number fourteen. Deepchandi’s pattern makes space within the cycle, so listen to the singing alongside the rhythm rather than counting alone.

Deepchandi compared with jhoomra and dhamar

Fourteen beats alone will not tell you which taal, or repeating rhythmic cycle, you are hearing. Deepchandi, jhoomra and dhamar all have fourteen beats, but they serve different musical settings. Deepchandi is the light classical one, characteristic of thumri’s word-centred singing.

Jhoomra is used for slow khayal, a vocal form. Its theka, the basic repeating drum pattern, differs from deepchandi’s. Dhamar belongs to dhrupad, another vocal form, and is played on the pakhawaj, a drum. Its beat divisions differ from deepchandi’s.