These measures may be of any number of beats, yet most commonly 2, 3, 4, or 5 beats are used. Each clap or wave specifies a particular section or measure. These have a characteristic relationship to the claps. Each tal is characterised by a particular pattern and number of claps. It occurs at different place(s), depending upon the taal. it is so called because it is assigned negative weight (taking something out). A little beyond half way, another important beat occurs. The first beat of the rhythmic cycle is the most important one. Fast counting will result in fast tempo (drut lay). If counting takes place at a moderate speed, the tempo will be moderate (madh lay).
If counting is slow, the resulting tempo will be slow (vilambit lay). Counting is done at a uniform, steady pace. On completion of 16 beats, the counting starts again from 1 through 16. For example, the taal called Teental, is a cycle of 16 beats. The number of beats varies from one taal to another. The count can be done by clapping, or counting numbers, or saying the sounds of the bol. A beat is the duration of silence between the first and the next count. It consists of a certain, fixed number of beats (matra).
Various terms associated with the rhythmic concept in Hindustani music are: taal (rhythm), matra (beat), sama, khali, taali, laya (tempo), Tempo types : vilambit (slow), madhy (moderate), and drut (fast), bol (mnemonic sounds), and theka (basic cycle of bol-s).