Rhythmic cycle in Indian music

It likely originates from the term 'Taal,' signifying 'being established.'

Within the rhythmic realm of music encompassing vocals, instruments, and dance, Taal assumes a nearly identical significance, serving as the means 'through which' music is 'established' or regulated in time.

Time, being boundless, manifests musically when a segment of it is delineated through the arrangement of sounds—accented or unaccented, marked or light, fast or slow—gaining identity and form from the continuous flow of time. This delineated segment then transforms into musical time.

The potential rhythmic variations or beats, contingent upon the distinct characteristics of each Taal , are virtually limitless. However, every rhythmic cycle is associated with a specific number of Mātrā. The fundamental distinction between a Mātrā and a beat lies in the fact that the former is a regular time division interval, capable of being played or not, while the latter is the expression of the Mātrā through a stroke or sound object against another.

The presence of the Mātrā is more sensed than heard, whereas the beat is perceived through auditory reception.

Bola, the mnemonic syllables used to articulate the composition of the rhythmic cycle, are reintroduced to the instrument by the percussionist, highlighting the meeting point called Sama with a stronger accent and employing a much lighter stroke for its counterpart, Khālī, Viṣama, or Phāṁk (empty, though not truly empty). The expression of the latter is predominantly characterized by tonal lightness to distinguish it from other beats.

Regarding  Tinatl as a reference, in the subdivision into bars, Sama, translating to 'together,' is denoted by an 'X,' while Khālī or empty is represented by a zero '0.' All other bars are indicated using a numerical sequence, where Atīta, or 'that which comes after the Sama,' is designated by the number '2,' and Anāgata, or 'when the Sama has not yet arrived,' is marked by the number '3.'