This article explores certain rhythmic features distinctive of the concept of tal in North Indian light-classical music, especially thumri. Particularly salient is the way that ambiguity of beat counts in tals called dipchandi, addha, and jat reflect how these tals are traditionally conceived in terms of drum strokes (dha dhin dha dha dhin etc.) instead of beat counts, which are in fact variable. Published in: National Centre for the Performing Arts: Quarterly Journal (Bombay) 12(4), December 1983. pp. 7-14.