it is a sort of variation or 'paran' on a given rhythm, and is usually followed by the tihāi. The tihāi is a short melodic and rhythmic phrase which the soloist and drummers play in unison.  The melodic phrase is echoed by parallel rhythm, and this is played three times, ending on the 'sam' (or main beat). The independent character of Indian rhythm becomes most apparent during drum solos and drum improvisations, 

where the drummer makes variations or parans on the set tāla, while the melodic line is presented in the simplest form by the solo instrumentalist or singer. Just as Indian melody is based on a rāga, which in turn is based on a particular 'thaat' (or parent scale) so is Indian rhythm founded upon a set number of beats within a time-cycle or measure to make a tāla or set rhythm. Like the rāga, the tāla also has its distinguishing features regarding the differences from one to another.  For instance, if two rāgas have the same notes and belong to the same thaat (or parent scale), it is the ascending and descending order and the way the notes appear in sequence that distinguishes one rāga from another.

Likewise, two tālas may have the same number of beats in their rhythmic cycle, but the way in which the beats are divided or grouped together will be different.  It is this grouping together of a number of beats or 'mātras' in every tāla that makes it possible to distinguish one tāla from another.  Popular and simple examples are the Keharva tāl and the Ādā tāl.  Both these tālas have the same number of eight beats in their rhythmic cycle, but the Keharva tāl is divided into four + four beats, making two bars whereas the Ādā-tāl is divided into four + two + two beats, making three bars