One of the counted sections a cycle divides into, each opening on a clap or a wave.
The sections into which a tala's matras are grouped — Teentaal's 4+4+4+4, Jhaptaal's 2+3+2+3. Each vibhag opens on a clap (tali) or a wave (khali), and the pattern of those markers is what gives two same-length talas different identities.
Vibhag boundaries shape phrasing: theka bols group inside them, and asymmetric layouts like Dhamar's 5+2+3+4 are felt as uneven strides rather than a flat count of fourteen.
Further reading
Martin Clayton, Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance (Oxford University Press, 2000).
