The Music of Hindostan c14.23

c14.23

The first six of these are genuine *thekas*: the alteration of *d* to *t* in the first *thekas* and the *trikara* in the sixth is intended to distinguish the blank (*khālī*) section of the bar (marked 0) from the others. The eighth (from Jhelum) is an instance of four bars of Surphakta treated as one of *Tintāl*. The seventh (from Calcutta) is in the nature of a *parand*, that is, the drumming of the various beats is contrasted.