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uthaan An attractive fixed composition played at the beginning of a solo performance. Benares Gharana players usually start their solo with an uthaan, which helps to increase the energy amongst the audience. It is played in fast tempo, can have features of a tukda or paran, and and can be short and long.

laya and layakari Laya Laya means tempo. It is the distance between two maatras. As the distance decreases, laya increases and vice versa. Laya also means destruction - when you play the second matra the time interval of the first maatra is destroyed. Every aspect of music is dependent on the laya, and laya is a universal theme (ex. Planets revolve at a specific speed). There are three main types of laya: Madhya laya - Is the medium tempo, approximately equal to heart rate, 80 bpm. Vilambit laya- Is the slow tempo played at approximately ½ of the speed of the madhya laya, 40 bpm (bada khayal is performed in vilambit). Ektaal, jhoomra, teentaal are taals than can be appropriately played in vilambit. Drut laya - Is the fast tempo played at approximately 2 times the speed of the madhya laya, 160 bpm. There aren’t precise numbers for each laya, it is relative to the composition. Normally performances begin with vilambit laya, then go to madhya laya, and end in drut or ati-drut laya. (Ex. peshkaar, kayda, rela, tukdas) Baraabar laya/Thaa(ठाह), dugun (2 maatras in 1), tigun (3 in 1), chaugun (4 in 1) Layakari The skill of controlling the laya and changing how the maatras are divided to create rhythmic variation. In other words, it is the practical and artistic implementation of various layas. Relation between Laya and Layakari Laya and layakari are closely related ideas. Whenever we create and perform a specific layakari, we require a specific laya. Music can’t simply jump from 102 bpm to 22 bpm to 15 bpm during a theka or kayda, for example. When performing, the tabla composition and lehra will be of a particular laya, and the laya will generally increase throughout the performance. The word “layakari” is “laya” + “kari” meaning “to do” laya. Whole number layakaris: Dugun, Tigun, Chougun. Fractional layakaris: Kuwaad laya (5 maatras in the span of 4 maatras - 1.25), Aad laya (3 maatras in the span of two maatras - 1.5), Biad laya (7 maatras in the span of 4 maatras - 1.75), Navamgun laya (9 maatras in the span of 4 maatras - 2.25), Ekadashguna laya (11 maatras in 4 maatras - 2.75). How to write fractional layakari of any taal Laya is the distance between two maatras and the repetition of the interval over multiple maatras in a sequence. During accompaniment or in a solo, the original laya is kept the same, and the number of beats in the theka can be increased or decreased, and this process describes performing layakari during a musical performance. (Ex. going from 4 beats/maatra to 6/8/12 beats/maatra to complement the main artist’s focus. However we should not do layakari or play too much where it’s not appropriate). When performing layakari, complex fractional forms can be used. Double 2/1 (Duppat) Triple 3/1 (Tippat) Quadruple 4/1 (Chaupat) 3/4 (Poundpat) 4/3 (Inverse of Poundpat) 5/4 (Kuwaad) 4/5 (Inverse of Kuwaad) 3/2 (Aad) 2/3 (Inverse of Aad) 7/4 (Biaad) 4/7 (Inverse of Biaad) *The above method of referring to layas with fractions is adopted because it is easier to understand the speed in relation to the value of the fraction (as taught in school). For example, if the fraction is 7/4, it is faster than baraabar laya because 7/4 is greater than 1. If the fraction is 3/4 (Poundpat), then it is slower than baraabar laya because 3/4 is less than 1. The above method of referring to layas in terms of fractions smaller than or larger than 1 is found to be efficient because it directly indicates if the speed is slower or faster than baraabar. Think of the respective fractions as "multipliers". if the fraction is less than 1, it goes slower than baraabar Ex. (2/3) if the fraction is more than 1, it goes faster than baraabar Ex. (3/2) In order to master layakari in any taal, understanding the layakari with mathematical formulas is essential. For example, let’s try writing jhaptaal in kuwaad (5/4) laya. Step 1: The numerator of the fraction (5) represents the number of beats in each maatra while writing kuwaad. Step 2: The denominator minus 1 (3) represents the number of pauses to leave after each bol while writing kuwaad. Step 3: Write the kuwaad of jhaptaal with 5 beats per maatra and 3 beats of pauses after each bol. → DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS Because writing the kuwaad of jhaptaal took 8 maatras, we can fill the first two maatras with pauses to complete one awartan of jhaptaal (10 maatras). → SSSSS SSSSS DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS We can use those steps to write the layakari of any taal in any laya. The above method can be used for writing layakari so that it fits within one awartan (sum-to-sum). However, we can also write the kuwaad of jhaptaal 5 times without the two maatras of pause in the beginning so that it fits in 4 awartans of jhaptaal (40 maatras). We were able to find out that doing the kuwaad of jhaptaal takes 8 maatras by practically writing and finding out. But there is also another way of finding out how many maatras the layakari of a particular taal will be. Simply flip the numerator and denominator and multiply that by the number of maatras in the taal. Ex. The juwaad of jhaptaal will be 8 maatras long The inverse of kuwaad fraction (5/4) is 4/5 4/5 times 10 maatras in jhaptaal is 8 Ex. The aad of teentaal will be 10 and 2/3 maatras long The inverse of aad fraction (3/2) is 2/3 2/3 times 16 maatras in teentaal is 10 and 2/3 Jati The concept of layakari can be demonstrated in jati as well. Jati indicates creating a distribution of syllables in a particular maatra in various ways. In general, a maatra is divided in 4 syllables, but we can divide it in other whole numbers as well. Tisra jati: 3 beats in 1 Chatushra jati: 4 beats in 1 Khand jati: 5 beats in 1 Mishra jati: 7 beats in 1 Sankirna jati: 9 beats in 1 Divyasankirna jati: 11 beats in 1 *Note: multiples are also allowed. Example: tisra jati can be 6 beats in 1, mishra jati can be 14 beats in 1 BACK TO TOP

Preview snippets from some sections found in advanced content A small glimpse of what you will get with the Advanced Content purchase. Dashpraan Ten primary characteristics of the taal have been identified in Sangeet Ratnaakar written by Sarangdev approximately in the 13th century. These characteristics are labeled and referred to as the dashpraan ("Dash-Praan" / "दशप्राण"). Praan refers to the "breath of life," indicating that these characteristics give life to a taal. ................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................ however, is seen to give significance to a greater number of dashpraan. The following shlok describes the dashpraan of the taal.................... Sashabda Kriyaa (A movement of hands that produces sound; sashabda means with-sound) Dhruvaa: taking right hand down while snapping finger Shamyaa: clapping the left palm with the right hand.................. Carnatic a nd hindustaani taal systems ................. Only the ang component "I" meaning "laghu" is changed according to the jaati, while the anudruta and druta remain the same. For example, for Dhruva taal's khand transformation, "I" would become 5 and "O" would remain at a value of 2, therefore there would be................... Indian vs. western percussion instruments ....................................Perhaps one of the earliest percussion instruments, Bhoomi-Dundubhi was an ancient instrument in which a large hole was dug, hide was stretched upon, and on which .................................................................................... .................................................................. Other old Indian instruments include tripushkar, mridang, and damru, whereas newer ones include pakhawaaj, tabla, dholki, dholak, dhol, etc. On the contrary, modern Western percussion instruments are grouped into categories such as.................. Instruments used for accompaniment .............The sambal is a set of two drums, the smaller, higher pitched one made of wood and the larger made of brass. Their faces are on top and both of them are attached together as a set and then played standing while suspended from the waistline with a cord. The instrument is played with two wooden sticks with bent tips (one stick has an even more bent, almost circular tip) that are struck on............ status, importance, application, history .....................................Dardar became Dhari, which is an obvious reference to the Dharis, proposed to be the influential original tabla players, who later moved to Delhi and initiated the Delhi gharana (the founder of which is considered to be Ut. Siddhar Khan Dhari/Dhadi). Reasons to believe this theory is the logical development of the names of closely-related instruments..................................................... principles used in composing Peshkaar : Imagine that a plane is on going fast on the runway and hasn't taken off yet. Its wheels still touch the ground or runway, which represent the taal. The peshkaar is similar to this, and is relatively confined to the taal. There exist specific themes (outline or mukh) for peshkaar that differ in style from gharana to gharana. For example, the Farrukhabad peshkaar hints at many characteristics of that gharana. The "dhinSSkdadhinSdhaS" peshkaar includes bols such.............................. bol nikaas ........................Additionally, the distance which the index finger travels should not be excessive; it should be approximately 1 to 1.5 inches. As is the case with all bols, the wrist should not hurt or feel excess tension when playing dha. While practicing to improve your dha, it may prove beneficial to pay special attention to the wrist and make sure that it is as loose as possible while paying and then gradually increasing the volume or speed of your composition while maintaining the loose wrist....................... accompaniment pakhawaaj gharanas ............Many temples of Maharashtra supported the advancement of musical arts. During the Mughal era, music and musicians faced many challenges. Musicians that co ntinued the tradition of pakhawaaj during this period of difficulty are called Gurav. Pandit Vitthalacharya who was Gurav in a temple in Mangalwedha was the founder of the Mangalwedhekar Gharana............................. rules for designing taals ut. muneer khan Solo: Order, Effectiveness, Padhant Gharana Attributes biographies of tabla and pakhawaaj players Ut. Ahmedjan Thirakwa Khan of the Farrukhabad Gharana was born in 1881 in Muradabad, Uttar Pradesh. His grandfather, maternal uncle, and paternal uncle were all great tabla players. His father Hussain Baksh was a sarangi player. He therefore had an extensive musical background, and later began learning tabla from Ut. Munir Khan at age 12 after initial vocal and sarangi lessons. His nickname became "thirakwa" after spectators noticed the shimmering and speed of his h ands even at a young age. He presented tabla at the court of the Nawab of Rampur. He was under the guidance of Ut. Munir Khan for 26 years, and Ut. Munir Khan gifted him the baaj of 4 gharanas: Delhi, Ajrada, Lucknow, Farrukhabad. His hand had become "riyaazi" with 14-15 hours of daily practice, and people say that his tabla gives the fulfillment of listening to vocal music. Thirakwa saab has heavily popularized the peshkaar "dhinSkda dhina Sdha dhina," and this peshkaar has prominently embossed a signature on the term peshkaar itself. Thirakwa saab's playing was properly attuned to the respective baaj and gharana of the compositions he played. The Farrukhabad chalan, the Ajrada kayda "ghinaSdhagena dhatrakedhagena", as well as the kayda "dhatrakedhikiteghina" and its corresponding rou will remain a significant source of inspiration as Ut. Thirakwa played such compositions preview has concluded get access to a plethora of pages with detailed content to aid in your knowledge of tabla OR for use towards visharad purna tabla exams CHECK OUT THE ADVANCED PLAN NOW

TUNING AND VARIOUS SCALES Tuning the Tabla Tuning is a difficult skill and requires precise identification of swars with a good listening ability. The swar is provided continuously on an instrument such as the harmonium. Today, various apps and nagmas are also used to provide the swar. Using this swar as the guideline, the tabla player adjusts the tabla to match the intended swar. The tabla ideally should not be placed on the ring while tuning as it requires frequent rotation The gatthas must be adjusted to reach the intended sur or scale. Hammering downwards creates pressure and tension, raising the sur. Lifting upwards releases tension which causes the sur to decrease. Tune the ghars, or houses on the gajra, two at a time in accordance to a sequence in order to reach the intended swar. This helps to increase or lower the tension around the pudi and helps to tune the tabla closest to the intended swar. There are 16 ghars on the gajra. Label them 1 through 16. The sequence of tuning the ghars is to start with 1, then the one directly opposite to that (9), then rotate the tabla 5 ghars, (14), then the one directly opposite to that (6), and so on. This, way we not only tune all ghars but also do it in pairs of opposite ghars, which helps maintain the balance efficiently. 1, 9, 14, 6, 11, 3, 8, 16, 5, 13, 2, 10, 15, 7, 12, 4 Afterwards, with the index finger, play a strong “na” on the chaati to ensure that it is in tune with the intended swar, rotating the tabla, and repeating after every ghar. If necessary, lightly hammer the gatthe to increase or decrease tension in bigger intervals. If the tabla’s swar sounds higher, play a “thap” with the bottom of the palm to decrease the swar slightly. Bigger interval changes occur on the gatthe, while fine tuning is done on the gajra. At the end, play an open na on the tabla to confirm that the tabla is tuned to the required swar, making sure there is minimal distortion in the sound. If more adjustment is still required gently bump the tabla on the floor, this helps the wadis to slightly loosen from the gajra in order to adjust the tabla. Various Scales C Safed 1 White 1 D safed 2 White 2 E safed 3 White 3 F# kali 3 Black 3 A♭ kali 4 Black 4 B♭ kali 5 Black 5 C# Kali 1 Black 1 D# kali 2 Black 2 F safed 4 White 4 G safed 5 White 5 A safed 6 White 6 B Safed 7 White 7 Move the cursor over various scales to learn the Indian Classical Music equivalent (desktop only). Tabla players, instrumentalists, and vocal singers have preferred scales that they perform in. The make of the tabla and whether its pudi is small or big greatly reflects the range of the scale to which it could be tuned to. Below is a slideshow which gives different diameters of tabla along with the associated surs and common uses in Indian Classical Music. Diameter: 5" Sur: F, F# "Tip tabla" used for light music, violin, flute, and sometimes harmonium accompaniment. BACK TO TOP

6. Visharad pratham The Visharad Pratham exam will be split in two sections: Theory I and Theory II, taken on two separate time slots. The first section will require insightful knowledge about taal and theka and the relationship between laya and layakari. The student should be able to write tukdas and define new terms with a greater level of understanding. The student will have to compare and analyze taals of equal maatras. In addition, this exam tests knowledge of various instruments in Indian Classical Music as well as their classifications. The second section will require ultimate knowledge about tabla's history, gharanas, and baaj. The student will need to write various tihais in different taals. A comparison between different types of compositions will be needed. The student should have knowledge of even more great tabla players. Finally, they will need to know various riyaaz methods and practice techniques. Sylllabus Theory I 1. Difference between taal and theka: in-depth definition of taal. Knowledge of sum, taali, khaali, khand/vibhaag 2. Ability to write tukdas in teentaal and jhaptaal in baraabar (single) and dugun. 3. Definitions aamad, peshkaar, kayda, rela, chalan, gat-paran, mukhda, mohra 4. Comparative analysis of taals of equal maatras deepchandi, jhoomra, ada-chautaal, dhamaar rupak, tevra, pashto teentaal, tilwada, aadhaa, punjabi sooltaal, jhaptaal ektaal, chautaal 5. Relationship between laya and layakari and definitions 6. Principles of classification of Indian musical instruments and knowledge of these instruments Theory II 1. History of tabla from its origins to present times: changes and developments 2. Knowledge of various styles (baaj) in tabla playing: characteristics and comparison 3. Gharanas of tabla and characteristics. Detailed knowledge of any 1 gharana from the following: Delhi, Lukhnow, Punjab 4. Placing and importance of peshkaar, kayda, rela, and gat in tabla solo 5. Ability to write 2 dumdaar and 2 bedum tihais in each of the following taals teentaal, jhaptaal, ada-chautaal 6. Riyaaz methods to maintain balance between daya and baya 7. Biographies of the following tabla players and their contributions Ustad Salaari Khan, Ustad Munir Khan, Pt. Kanthe Maharaj, Ustad Gamey Khan, Ustad Keramatullah Khan, Ustad Inam Ali Khan, Pt. Purshottam Das Pakhwaji, Pt. Madhavrao Algutkar, Pt. Sakharamji Gurav Notes Theory I 1. Difference between taal and theka: in-depth definition of taal. Knowledge of sum, taali, khaali, khand/vibhaag Taal and theka: Click Here Sum - The first maatra of the taal is known as the sum. In other words, the sum is the beginning. In many taals, the sum is a maatra which has the most Bhari/content in relation to other vibhaags (roopak is an exception as it starts with khaali). The main function of the sum is to establish a time of resolution and emphasis. During accompaniment, the sum acts as a point of return, meaning the singer or instrumentalist may improvise their compositions and “join” the theka of the tabla player by converging towards the sum after each awartan. The tabla player may perform multiple bols and even short mohras to show the emphasis and land on the sum. During a solo performance, compositions such as tehais and chakradhaars may be played to arrive at the sum. The theoretical idea is that the first maatra symbolizes a “restart” of the cyclical, repetitive nature of taal and theka, and therefore represents a point of anticipated convergence. Taali/Khaali - A taal can be demonstrated through taali/khaali in order to show the divisions or vibhaag. Each vibhaag of the taal begins either from the Taali or Khaali. Taali is a Sashabda activity which shows the weight or point of emphasis. Taali exhibits the starting-maatra of the Bhari divisions and is represented with a clap during Hasta Kriya. Khaali shows the point of non-emphasis without weight. Khaali can be represented by taking your hand away or striking with the back of your hand instead of the palm during Hasta Kriya. (Many stalwarts argue that the existence of Khaali was assimilated into Taal in order to make the process of measuring the taal easier). One key point about Taali/Khaali is that while two Taali can come together sequentially, two Khaalis are never sequentially attached. In a musical performance, the singer can initiate or direct the taal by presenting the taali/khaali for the tabla player, if needed. Khand/Vibhaag - The divisions formed by the taali and khaali of a taal are called vibhaags. A taal is characterized not only by the number of maatras, but also by the divisions of those maatras. For example, teentaal is divided into 4 divisions of 4 maatras each. There is no 1-maatra division in Hindustani Classical Music. The smallest division is 2 maatras and the largest are 5 maatra divisions. The divisions of the Taal establish the identity of the taal. The various weights, or points of emphasis for the taal, are established through the vibhaags. Some equal-maatra taals may have different vibhaags/khands in order to differentiate between the styles and characteristics of the taals. Different types of taals based on their divisions. Samapadi Taals : All divisions have the same number of maatras (Ex. teentaal, ektaal, chautaal, ada-chautaal) Vishampadi Taals : Divisions are of various numbers of maatras (Ex. Dhamaar) Ardhasamapadi Taals : There are 4 divisions. The first and third divisions have an equal number of maatras. The second and fourth divisions have an equal. For example Jhaptaal is 2+3+2+3 (Ex. Jhaptaal, Deepchandi, Jhoomra) 2. Ability to write tukdas in teentaal and jhaptaal in baraabar (single) and dugun. Write tukdas from learned material. When figuring out a tukda in a particular number of maatras, calculate tukda with a stem of a particular number of maatras and a tihai fitting in the remaining number of maatras. 3. Definitions aamad, peshkaar, kayda, rela, chalan, gat-paran, mukhda, mohra Aamad - Aamad means "arrival". In general, a composition which gives a sense or intuition of arriving on the sum is aamad. In dance music, the introduction of rhythmic bols spoken at the beginning of a Kathak performance is called Aamad. It is an entry movement that traces itself back to the Mughal era. It is known to evoke a sense of grandeur and represents taking command of the area. In other words, it is a stylized way of taking an entry during a Kathak performance. Aamad corresponds to “alaap” or “peshkaar” in Indian music. The structure of an aamad is a body followed by a tehai. The term “aamad” was utilized after the Mughal era, before which presentations would start with an uthaan. Peshkaar - A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. More Info Kayda - An expansionary composition with a balance of consonant and vowel phrases which begin and ends with a vowel phrase is called a kayda. Kaydas have khaali and bhari components and divisions. The divisions of a kayda may either be symmetrical to the taal in which the kayda is established or may fall in odd places. More Info Rela - An expansionary composition with begins with a vowel but ends with a consonant phrase. A rela has rapid bols and is played in drut laya, helping to create a harmonious chain or musical flow. Many relas are abundant in consonants. More Info Chalan - Click Here Gat-paran - A gat-paran is a composition/tukda with open, prominent bols. The term “Paran” comes from the Sanskrit word “Pern,” meaning leaf. Similar to a leaf’s main stem and small branches, a paran, coming from pakhawaj language, has a main phrase which branches out into other phrases based on the original. A gat-paran is a paran that uses the language of a gat. Mukhda - A mukhda is a short and attractive composition of a few maatras used to land on the sum. A mukhda is longer than Mohra but shorter than Tukda. The length of a Mukhda is generally equal to or less than one Awartan. It uses stronger bols such as those found in a Paran. Some stalwarts say that a mukhda usually is the combination of bols composed in the last few maatras of an awartan in order to arrive at the sum. It may or may not have a tihai. Mohra - A mohra is a small composition used to arrive at the sum gracefully. It is shorter in length than Mukhda and uses softer bols. It is usually a pick-up phrase or hook played spontaneously in accompaniment to vocal/instrumental music in order to transition onto the next awartan. It may or may not have a tihai. 4. Comparative analysis of taals of equal maatras deepchandi, jhoomra, ada-chautaal, dhamaar rupak, tevra, pashto teentaal, tilwada, aadhaa, punjabi sooltaal, jhaptaal ektaal, chautaal Scroll down to find comparative analysis in Taals 5. Relationship between laya and layakari and definitions Click Here 6. Principles of classification of Indian musical instruments and knowledge of these instruments Click Here Theory II 1. History of tabla from its origins to present times: changes and developments Click Here 2. Knowledge of various styles (baaj) in tabla playing: characteristics and comparison Click Here 3. Gharanas of tabla and characteristics. Detailed knowledge of any 1 gharana from the following: Delhi, Lukhnow, Punjab Click Here 4. Placing and importance of peshkaar, kayda, rela, and gat in tabla solo Peshkaar In general, the chronological order of tabla has been adapted from that of vocal singing. The performance laya starts from vilambit all the way to ati-drut. The body needs a warm-up phase or interval in order to adapt to changes (such as weather, time changes, different behavioral patterns, etc). Peshkaar serves as a “warm-up” for the workout. Tabla in itself is a both psychologically and physically intensive instrument. This “warm-up” is a good exercise to prepare for the tiring kaydas and relas that may be played later. Peshkaar is a culmination point of intelligence, deep thinking, deep theoretical study, Riyaz, bol clarity, and aesthetic all at once, and thus is a valid point of introduction for the solo. Not all the rules that apply to kayda are applicable to peshkaar. For example, almost all bols in tabla can be played within Peshkaar. However, tite is usually not played (unofficial rule). Laya, jati, points of emphasis (wazan), khali/bhari, etc are all kinds of aspects that can be implemented in peshkaar. Although the composition may be similar to kayda, peshkaar has more room for spontaneous improvisation. Unlike a kayda, the distance between maatras has a very big importance in peshkaar. Additionally, a peshkaar theme in the delhi gharana usually starts with dha, while a popular theme in the Farukhabad gharana starts with “dhinSkdadhina” and has gained prestige due to the works of Ut. Ahmed Jaan Thirakwa. Peshkaar should be learned under the guidance of a capable guru. It requires a lot of personal thought, experience, and maturity. Some stalwarts are able to judge a tabla player’s candidacy simply by his peshkaar. A traditional peshkaar should not be memorized, but rather spontaneously “thought of” within the constraints of music and with an organizational, sensible pattern. Kayda The kayda is an extremely important expansionary composition as it comprises the heart of a solo performance. It is the root of all expansionary compositions, however there are different opinions as to whether it preceded peshkaar or not. Although peshkaar gives a firm understanding of the respective tabla player’s thought process and readiness, kaydas are taught first during the learning process for a reason. The riyaz and grasping of certain key phrases are impossible without the repetition of different kaydas. This, combined with the subconsciousness of understanding laya through the practice of kaydas with a lehra, provide the ground root of a tabla player’s initial preparation. Doing practice of kaydas fortifies the dexterity of the hand and makes it easier to understand different aspects of the taal. Usually, when a human being is given a strict set of rules, he/she is given a specific direction to turn to, which first limits the scope and freedom. However, eventually, after devoting to those rules and practicing them over and over again, a certain understanding of life develops and the individual matures. The word kayda derives from the word “Kayd,” which also means “rule, arrest, capture.” And so the same logic of preparation through direction can be seen within a kayda. Rela While rela is also an expansionary composition such as Kayda and Peshkaar, it is not as expansionary as kayda because of the lesser variety of bols compared to that of a kayda. Bols are often time repeated. Additionally, a “rav” creates a harmonious chain given the fact that a rela has several harmonic syllables and consonant repetition. Common bols used in a rela are “TRKT, DRDR, dhinegene, etc.” The baya also has a prominent place in rela. Oftentimes, work on the baya is spotlighted in order to show the harmony and flow of the rela. Additionally, because of the disruption caused by playing ke and ge in various frequencies on the baya in a rela, a tabla player may replace all bols on the baya with “ge” in the bhari section and “ke” in the khaali section. In relas with majority consonant usage and just a few vowels such as “dha” and “dhin” in between, the vowels are given more weight and volume in order to balance the composition. A rela is usually played after kaydas in a tabla composition and is played in drut laya as the flow created by the heavy and closed consonants requires a fast speed in order to appear appealing. Additionally, the placement of relas is important because they are usually played in the 2nd half of a performance, right after kaydas, and serve as exciting, harmonic, compositions that engage the audience in the form of patterns and speed. Gat A gat is a language of information, meaning it communicates the information of several different elements found in nature. The natural elements (such as waterfall, rain, speed of a ball, flow of a river, movement of a peacock) as well as the perspective of the artist create a composition which gives a unique experience to those avid listeners who can connect with such compositions. One significant point of the gat is that it ends before the sum, and it can end with a weak bol (this means no tihai and no strong “dha” needed to land on sum). All gharanas of the khula baaj have composed several gats, and Delhi has composed fewer gats than other gharanas. A gat is played twice to give an effect and to communicate the meaning, and that is practical given that there is no tihai associated with a gat to give any dramatic conclusion at the end. Few types of gats Tipalli gat- 3 different layas are included Choudhari gat- every bol or phrase is played 4 times each Farad gat- “Farad” is a Persian word, which means “Ekkad” or “once.” Usually a gat is played twice, however a Farad gat played once is effective. Another characteristic is that its arrival on the sum can be unpredictable, but it still retains its aesthetic. Some argue that it is called “Ekkad” because we could not give a response or reply to the initial Gat. Sab-Akaal- There is a pause at different maatras. For example, if teentaal was to be divided in 4 vibhaags, then there would be a “S” at the beginning of the maatra, and the rest of the 1st, 2nd, 3rd, and 4th maatra would be filled with bols, and then again the first section of the 5th maatra would have an “S”. Example: Sab-Akaal gat would start off with “SdhagetitaakdadhaSnadhet….” 5. Ability to write 2 dumdaar and 2 bedum tihais in each of the following taals teentaal, jhaptaal, ada-chautaal Compose tihais in respective taal with language that you have been taught. Bedum tihais have a 1/2 maatra pause or less while dumdaar tihais typically have a bigger pause. Example for thought process: Compose a jhaptaal bedum tihai Experiment with 1/2 maatra pause There are 2 equal pauses: so 1/2 maatra times 2 = 1 maatra, with 9 maatras left over Divide 9 maatras by 3 to get a 3 maatra phrase Compose a tihai with a 3 maatra phase and 1/2 maatra pause 6. Riyaaz methods to maintain balance between daya and baya Click Here 7. Biographies of the following tabla players and their contributions Ustad Salaari Khan, Ustad Munir Khan, Pt. Kanthe Maharaj, Ustad Gamey Khan, Ustad Keramatullah Khan, Ustad Inam Ali Khan, Pt. Purshottam Das Pakhwaji, Pt. Madhavrao Algutkar, Pt. Sakharamji Gurav Click Here (Advanced Content access required) BACK TO TOP

Complete explanations Prarambhik to Visharad Pratham Point by point explanations for all segments of the "theory" portion of tabla exams. Notes have been compiled from various sources of tabla literature, including Pt. Arvind Mulgoankarji's "Tabla" Book, online archives of the National Centre for the Performing Arts Tabla Seminar, and more. All respective gurus, stalwarts, and authors are thanked for their musical gifts and blessings. Visit Bibliography . Some explanations may contain links to specific pages regarding the topic, and the specific page may contain extra details or additional information. Because exams from multiple levels may link to the same page, the student should be able to memorize and explain the content to the extent of their current examination level, whether it is introductory, intermediate, or advanced.

listening material TABLA SOLOS https://youtu.be/TrQ8AkgpmC8 https://youtu.be/dM07DpKeVGg https://youtu.be/eEMmMYVCGog https://youtu.be/VOJd4QK2mAw https://youtu.be/j8-HoN0X7DM https://youtu.be/xuljZW6BnIM VOCAL VILAMBIT LAYA TEENTAAL SMT. KISHORI AMONKAR https://youtu.be/rj4jHvNkKTA PT. MALLIKARJUN MANSOOR https://www.youtube.com/watch?v=3iC_5G3qF2s SMT. KESARBAI KERKAR https://www.youtube.com/watch?v=8OZIs0HaT-4 SMT. MOGUBAI KURDIKAR https://www.youtube.com/watch?v=w5idEgrOs10 PT. ULHAS KASHALKAR https://www.youtube.com/watch?v=dTnJC2KpLAw VOCAL VILAMBIT LAYA EKTAAL PT.ULHAS KASHALKAR https://www.youtube.com/watch?v=QIFbB_Ucxw0 UT.RASHID KHAN https://www.youtube.com/watch?v=mLqO8cgM_gc UT. AMIR KHAN https://www.youtube.com/watch?v=wtX2AbX2s_4 PT. BHIMSEN JOSHI https://www.youtube.com/watch?v=Wu7CITWKtbU PT. AJOY CHAKRABARTY https://www.youtube.com/watch?v=zsUqsU_f2rI VOCAL MADHYA LAYA TEENTAAL UT.RASHID KHAN https://www.youtube.com/watch?v=AWFcwdu4EmI DR. PRABHA ATRE https://www.youtube.com/watch?v=fKmSE252OUo UT. AMIR KHAN https://www.youtube.com/watch?v=E31tQK-prtg PT. KUMAR GANDHARVA https://www.youtube.com/watch?v=PQ7QxpvLo9M POPULAR BHAJANS FOR ACCOMPANIMENT https://youtu.be/J7DP-sCeHmE https://youtu.be/BAOLNePEl4o https://youtu.be/kIvCtJEispY https://youtu.be/OgVNMOCvqJ4 https://youtu.be/gtQQR81-9kQ https://youtu.be/19rhuwTC4nl https://youtu.be/Hr8ama4aXHY https://youtu.be/60xmh6lLIEQ https://youtu.be/DT-HB67NVLE https://youtu.be/E9zUv6_J5ic 1998 Tabla Seminar at NCPA https://www.youtube.com/watch?v=1Uf6yPc2MhA&list=PLTEp10GSV40mG-JLz01NHbjIeAMvoaitW

fundamentals essential concepts of tabla

2. PraVESHIKA PRATHAm The Praveshika Pratham tabla exam introduces the student to new definitions and types of compositions. The student will be asked to perform single and double of taals with hand gestures. The student will have to describe different parts of both the tabla and the dagga. Sylllabus Theory 1. Definitions Sangeet , Naad, Swar, Laya, Bol, Theka, Kissm, Kayda, Mukhda, Mohra, Tihai, Tigun, Chaugun, Tukda 2. Recital of following taals using hand gestures with taali/khaali in single and double tempo Rupak and Ektaal 3. Description of different parts of tabla Notes 1. Definitions Sangeet - Sangeet is the combination of the 3 arts in Indian Classical Music: singing, instrumental playing, and dancing. Naad - The sound that is produced from playing a certain bol on a musical instrument. Swar - Swar refers to distinct musical notes of various frequencies. (Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa). Laya - Laya, or tempo, is an important element of music. It is the distance between two maatras. When the distance between two maatras increases, the speed of the composition slows down, and vice versa. In other words, laya represents the equal movement of time and the equal spacing between two maatras. Laya also means destruction: when a second maatra is produced, the time interval or the reign of the first maatra fades away. An artist may perform in various layas according to th e rules of Indian Classical Music. There are three main types of Laya: Madhya Laya - Medium tempo, approximately equal to heart rate, 80 bpm Vilambit Laya - Slow tempo played at approximately ½ of the speed of the Madhya Laya, 40 bpm Drut Laya - Fast tempo played at approximately 2 times the speed of the Madhya Laya, 160 bpm There aren’t precise numbers for each laya, it is relative to the composition. More Info Bol - Bol refers to a syllable/note (such as dha) or group of syllables/notes (such as TRKT) played on an instrument. While some bols are played individually on either the daya or the baya, some bols are be played by striking simultaneously on both drums. Bols are the most basic components of vocabulary in tabla compositions, and can be arranged to make bigger compositions such as kaydas and tihais. Theka - The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. While a taal can be simply expressed through taali/khaali, in order for a taal to be musically useful, a theka is employed. There may be differences of the theka played for any particular taal according to the context in which the theka is performed. Taal and Theka Kissm - Variations in a theka played without disturbing the theme or flow of the theka are called kissm. While accompanying, a tabla player may play various kissm in order to musically and appropriately match the main performing artist's composition. Kayda - An expansionary composition with a balance of consonant and vowel phrases which begin and ends with a vowel phrase is called a kayda. Kaydas have khaali and bhari componnts and divisions. The divisions of a kayda may either be symmetrical to the taal in which the kayda is established or may fall in odd places. More Info Mukhda - A mukhda is a short and attractive composition of a few maatras used to land on the sum. A mukhda is longer than Mohra but shorter than Tukda. The length of a Mukhda is generally equal to or less than one Awartan. It uses stronger bols such as those found in a Paran. Some stalwarts say that a mukhda usually is the combination of bols composed in the last few maatras of an awartan in order to arrive at the sum. It may or may not have a tihai. Mohra - A mohra is a small composition used to arrive at the sum gracefully. It is shorter in length than Mukhda and uses softer bols. It is usually a pick-up phrase or hook played spontaneously in accompaniment to vocal/instrumental music in order to transition onto the next awartan. It may or may not have a tihai. Tihai - A t ihai is a composition in which a phrase is repeated 3 times with 2 equal pauses to arrive on a designated position, usually but not necessarily the sum. More Info Tigun - In a cycle or time interval of a particular phrase, if that phrase is instead played 3 times at thrice the speed, it is tigun. In other words, tigun is triple tempo. Chaugun - In a cycle or time interval of a particular phrase, if that phrase is instead played 4 times at 4 times the speed, it is chaugun. In other words, chaugun is quadruple tempo. Tukda - A tukda is a fixed composition primarily with forceful bols and heavy consonants. A tukda contains a tihai within it and usually is 2-3 awartans in length. Some stalwarts argue that a tukda, or "piece," is a portion of a longer composition which, even if played independently, appears meaningful. More Info 2. Recital of Rupak and Ektaal visit Taals 3. Description of different parts of tabla visit Tabla Structure BACK TO TOP

kissm Variations in a theka played without disturbing the theme or flow of the theka are called kissm. While accompanying, a tabla player may play various kissm in order to musically and appropriately match the main performing artist's composition. Some players (such as Pt. Swapan Chaudhari) start their performance with kissm instead of peshkaar. In his teentaal accompaniment, Shri. Satyajit Talwalkar plays variations of teentaal theka and some mukhdas/phrases to accompany the singer. BACK TO TOP

tukda A tukda is a fixed composition primarily with forceful bols and heavy consonants. A tukda contains a tihai within it and usually is 2-3 awartans in length. Some stalwarts argue that a tukda, or "piece," is a portion of a longer composition which, even if played independently, appears meaningful. The structure of a tukda is a small portion followed by a tihai. Sometimes, this small portion or opening played before the tihai is also called "mukhda," which means "face". A tukda, which in literal terms means "piece," isn't as long as compositions such as parans. It is believed that they were formed first in Lucknow gharana, followed by Farrukhabad and Benares. Most stalwarts agree that it evolved from pakhawaaj style parans and was influenced by kathak. Tukdas are short and are not symmetrical like kaydas or relas. Khula baaj bols are utilized for a profound effect. Some tukdas don't contain a tihai. On the other hand, some tukdas contain a phrase repeated 3 times without a pause, or without a "dha". Phrases such as "dhagetite," "DRDRKTTK," "dhaSTRKTTK," "KTTK," "kdadha," "taraSna," "GDGN," and "nagetite" can be included in tukdas. Tabla players will often perform padhant (recitation) before playing a tukda. BACK TO TOP

WHAT IS TABLA? basic overview of the instrument Tabla is a pair of 2 drums originating from India and is played with the hands. It is an essential percussion instrument within Indian Classical Music, and is performed in the form of solos as well as accompaniment with other instruments, singing, and dance. While Indian Classical Music is an art form which has existed for thousands of years, tabla is a relatively new instrument with origins likely being a few hundred years ago. Tabla is an instrument that requires extensive practice and knowledge. As Indian Classical Music spotlights improvisation and creativity in the observation of musical rules, tabla players use several components of imagination, mathematical patterns, and logical variations in order to compose astonishing percussion. As a result of various schools and lineages of thought within the world of tabla, different styles have contributed towards both a diversification and more recently unification of tabla as different techniques have merged into one common practice today. Tabla follows the idea of taal, or a cycle of a set number of beats. Within repeating cycles of a taal in various designated speeds can exist different compositions, both fixed ones and ones that can be expanded through the help of various variations. With a content-filled dictionary of vocabulary, sharp consonants as well as resonating vowels are used to make bigger arrangements. Tabla's legacy Descriptive knowledge of percussion instruments was available from the Vedic times. This information and conceptual framework was used for the research and development of tabla. Bols of past percussion instruments such as the pakhawaaj were used to develop new tabla bols, which created new thekas and compositions. The reasons for the establishment of tabla included factors such as sound quality and flexibility of application. Today, learning tabla is a more accessible process compared to other instruments because of the diverse body of students and teachers, making it a very expansive field of knowledge. BACK TO TOP