During the Zikar classes first given in London, then in Wiasous and also later at the Harras de la Tuilerie, before even becoming part of the Summer School program in Sureness, Murshid always insisted very much on the importance of creating a strictly respected rhythmic impulse as a fundamental principle to be adopted in a Zikar practice.
  Murshid explained so often that the main object intended by basic rhythmic patterns, also called Talas, is to obtain a perfectly harmonised co-ordination between various disciplines, such as the breathing techniques, the rotation movement, the voice register and the regularity of the chanted or recited repetitions of the scared words of the Zikar, "LA EL LA HA, EL AL LA HU.'1
  «Some mureeds could not always understand the mystical values of self- conditionings, such as discipline or rhythmic continuity throughout an esoteric practice, and this did upset Murshid profoundly; which also does explain why so many indications were given on that particular subject in the various Githas, Sangathas, Sangithas and also in Murshid's private note-book, with the hope that future generations would be more open to the instructions which he had thereby given.
  In the later years, a tambura and an Indian sitar were utilized during the Collective chanting of the Zikar, insuring thereby that all the voices were constantly harmonised to a given pitch throughout the entire practice. The rhythmic cadence was guided extremely accurately by a mechanical Maenzel metronome.
  After the Zikar class, and on Murshid's own request, all went home silently. Several mureeds even took the firm resolution not to speak until the next morning.