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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

rela A rela is an expansionary composition which 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. A rela is said to be named from "rel-gadi," which means train. Rela also means flow, like that of a river. A rela itself has a harmonious flow (similar to a train or river) and many relas create some sort of a buzzing sound. 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 oftentimes repeated. The "laut-palat" principle is used to improvise the rela, and the same palta may be repeated multiple times in order to create a chain. Additionally, a rela may be played in the form of a rou , which creates a harmonious chain given the fact that a rela has 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. Sometimes, an emptiness is experienced while playing "ta" in the khaali section of a rela because the harmonious chain is disrupted be a small pause. To combat this, tabla players will play "take" instead. For example, "taSTRKTTK" will become "takeTRKTTK," ensuring that the flow is not disturbed. BACK TO TOP

4. Madhyama pratham The Praveshika Purna tabla exam evaluates the understanding of various gharanas and vocal styles. It will include concepts such as tuning the tabla, as well as new compositions and ideas such as farmaishi chakradaar, jaati, qualities of a tabla player, and knowledge of solo and accompaniment. Sylllabus Theory 1. Brief history of tabla, its development and changes in recent times. 2. Knowledge of gharanas and baaj. Detailed understanding of Delhi and Lukhnow gharanas. 3. Basic knowledge of following vocal styles Khayal (Vilambit, Drut), Thumri, Bhajan, Taraana 4. Basic knowledge about solo and accompaniment. 5. Desirable and undesirable qualities of a tabla player. 6. Definitions Farmaishi Chakradaar, Bedum and Dumdaar Tihai, Gat, Peshkaar, various types of Parans 7. Ability to write notations of kaydas and relas in teentaal, jhaptaal, and ektaal. 8. (a) Guidelines for tuning the tabla and (b) Knowledge about the use of tablas of various scales for all kinds of music Notes 1. Brief history of tabla, its development and changes in recent times. Click Here 2. Knowledge of gharanas and baaj. Detailed understanding of Delhi and Lukhnow gharanas. Click Here 3. Basic knowledge of following vocal styles Khayal (Vilambit, Drut), Thumri, Bhajan, Taraana Click Here 4. Basic knowledge about solo and accompaniment. Click Here 5. Desirable and undesirable qualities of a tabla player. Read "Solo" section in Solo and Accompaniment 6. Definitions Farmaishi Chakradaar, Bedum and Dumdaar Tihai, Gat, Peshkaar, various types of Parans Farmaishi Chakradaar - A chakradaar includes a tihai-containing tukda which is repeated 3 times in order to land on the sum. It is essentially a tihai played 3 times. A farmaishi chakradaar is a chakradaar of which the "dha" of the first section of the first tihai lands on the sum, the "dha" of the second section of the second tihai lands on the sum, and the final "dha" also lands on the sum. Examples: https://youtu.be/l6ZMb7kb37o https://www.youtube.com/watch?v=Uva2l3rnNLw Bedum Tihai - A tihai with be-dum, meaning no-pause, is a bedum tihai. A bedum tihai has a pause of 1/2 maatra or less. A bedum tihai can't be composed in a taal of which the number of maatras is a multiple of 3 (ex. ektaal, matta taal) Dumdaar Tihai - Dumdaar, meaning "with a pause," implies that a dumdaar tihai has a pause. The pauses may be short or long, and they may also be simple or complex. Usually, a dumdaar tihai has a pause that is more than 1/2 maatra. A dumdaar tihai with complex pauses is sometimes referred to as bikat dum. Gat - A gat is a fixed composition composed by various maestros and composers which provides an experience of various elements in nature through the language of tabla. These elements of nature may include things like the flow of a river, the flight of a bird, or the bouncing of a ball. A gat is completed before the sum, and therefore can be played multiple times sequentially. A gat is usually performed at least twice in a solo performance. More Info 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 Paran - Connecting to the Sanskrit word "pern," meaning leaf, a paran is a composition with accent-filled, resonance-filled bols. It generally ends with a tihai and can be compared to the structure of a leaf: a main vertical axis which "branches out" into veins on both sides. More Info 7. Ability to write notations of kaydas and relas in teentaal, jhaptaal, and ektaal. Write in Pt. Bhatkhande notation system by default unless specified. Memorize various kaydas and relas. Examples below: 8. (a) Guidelines for tuning the tabla and (b) Knowledge about the use of tablas of various scales for all kinds of music Click Here BACK TO TOP

solo and accompaniment Solo A solo may be presented in a variety of different ways in accordance to one's gharana and playing style. While most solos are in teentaal, tabla players can present a plethora of different taals such as roopak, jhaptaal, deepchandi, matta taal, pancham sawari, etc. To help provide a laya for the tabla player, a lehra from an instrument such as sarangi, harmonium, sitar, etc is utilized. While performing, the tabla must be tuned properly to a given swar matching the lehra. A laya generally increases from vilambit compositions (peshkaar) to madhya (kayda) and eventully drut (relas, tukdas, chakradaars). Padhant can be done for fixed compositions such as tukdas and chakradaars in order to vocally express the bandish. The laya should remain steady from the tabla player, who should prompt the lehra to adjust the laya when it changes. The tabla player should remain personable throughout with sensible facial expressions and body language. Presentation of peshkaar shows maturity and creativity, while kayda shows the expansion process. The rela conveniently shows tayyari and dexterity of the hand, and can oftentimes be entertaining for the audience. A tabla player should be able to present in various different layas and perform layakari, which indicates his mastery over the instrument. Ending compositions such as tukdas, mukhdas, parans, gats, and chakradaars effectively conclude a performance. Having a huge collection of different types of compositions is important for conducting a solo for any designated amount of time. There are various desirable qualities in a tabla player that exemplify themselves during a good solo performance. A tabla player should always remain humble and respectful to the guru and audience. Gurus and great tabla players are often praised during the beginning of a performance. There should be minimal abnormalities in expressions while playing tabla. A tabla player should always end the performance in the intended time frame. Apart from knowledge and riyaaz, a good tabla player also memorizes several fixed compositions of various tabla veterans so that he can recite the padhant in a clear and understandable manner. The tabla playing itself should be all rounded and playing extremely loudly doesn't necessarily warrant a pleasant experience. The tabla player himself should wear appropriate clothing and should maintain a joyful gesture. Tabla players end their stage performance with a namaskar as a way of thanking the audience. Accompaniment Tabla has been a prominent and often desired instrument for several artists. Playing styles have developed to suit various vocal styles, dance, and instruments. We can signify its evolution through an important mark which changed the playing style completely: the creation of the Lucknow Gharana. The Delhi baaj was significantly altered to better accompany kathak dancers and singers. Like this, alterations of smaller and bigger notches have been made in order to better mold tabla into a desirable position within all forms of Indian Classical Music. The lower octave note of the baya, the higher octave note of the tabla, and the lower octave note of the tabla obtained from a lower pitched tabla have successfully enabled it to appropriately accompany khayal, semi-classical, light music, instrumental music, dance, etc. There are several guidelines for tabla players to follow while accompanying. Main artist gets to choose to raag, taal, and laya Tabla player must make tabla playing effective The tabla must be precisely tuned and adjusted as required The laya must be undisturbed so the main performer can stabilize and perform their main composition with minimal obstacles, and then changed when the main performer signals to do so Compositions played during accompaniment should not be bland nor excessive What to play, where to play, and how much to play differs from style to style and artist to artist The tabla composition should not disturb the main composition's line of thought The tabla player should consider the time and mood of the raag The tabla player's designs should fit with the thought process and variations made by the main artist Accompaniment shouldn't be like a collage Qualities of a good accompanist. Great imagination, observational skills, and intelligence Frequent listener of music for background knowledge Sets aside ego and very supportive to main artist Players like Ut. Alla Rakha and Ut. Habibuddin Khan were extremely famous and influential accompanists. Ut. Alla Rakha is known for bridging the gap between Carnatic and Hindustani Music, and his accompaniment wit Pt. Ravi Shankar earned him global fame. Ut. Habibuddin Khan was also a very well known and talented accompanist, and was a common choice for many famous artists. In order for a tabla player to be a successful accompanist, he/she must have the knowledge and understanding of musical styles in Indian Classical Music. In short, the accompaniment of the tabla player should give the artist a stage upon which to build and express creativity. Vocal Accompaniment It is wise to keep an emphasis on the taali and khaali of the taal. The singer is dependent on the player's theka, so it must be easy to understand the taal through the theka. While singing in madhya laya, it may be appropriate to play a small tihai before the completion of the awartan, depending on the vocal style and context. While singing in drut laya, playing pieces with faster heavier bols may be suitable. Bada Khayal Bada Khayal is in vilambit laya. There is a bigger (bada) gap between two maatras, and therefore between two sums. The theka should be able to be played for a very long duration of time without disturbing the laya. In extremely slow compositions, such as those in extremely slow ektaal, the tabla player should be able to keep an extremely precise laya. This is usually done by splitting a maatra into divisions of 4. If the singer gets lost in the theka due to various expressions of his/her raag, the clarity of the tabla player's theka, as well as an effective emphasis on certain bols, should bring the singer back to position. Once the asthayi begins, one can take a small mukhda before the sum and then begin the theka. The tabla players should be well informed of the syllables in the sum as oftentimes, the singer sings the same composition by assuming the sum at various places. In the first two maatras, the tabla player should confirm that the laya is correct, and make any necessary changes accordingly. In this khayal, the tabla player is supposed to play only a content-filled, weighty theka. In vilambit khayal, the tabla player may fill up the gap between the maatras of the theka with fitting bols because the resonance of the first bol doesn't always extend to the next in slow speed. However, overplaying bols and heavy consonants disturbs the theka. In vocal music, gharanas are based on swar pre-dominance, laya pre-dominance, or swar/laya pre-dominance. Based on the needs of the composition, characteristics of the taal, and the preferences of the artist, the tabla player should decide whether to stick to a simpler theka or one with maximum number of syllables. Chhota Khayal Chhota Khayal is in drut laya. It is mainly in teentaal, ektaal, and sometimes ada-chautaal. The laya is higher, and the tabla player sometimes has the permission to present 2 or 3 awartans with the permission of the main artist. The composition that the tabla player plays should once again fit the environment and dialogue going on between the main artist. Such "pieces" are concluded with a tihai, and then the theka is resumed. If layakari is done in khayal, it might be suitable to play corresponding bols. Geet, thumri, tappa, etc are all part of sugam sangeet or light music. The tabla player has more individuality in such lighter forms. For thumri, deepchandi, addha, keherwa, and teentaal can be used, starting with a simple theka. Two portions included in thumri are the asthayi and the antara. After these, the singer doubles the laya. With the onset of dugun, deepchandi transforms into keherwa. The fickle natured keherwa proved compatible for better measurement of taal and for assisting with dissolving the various rasas produced by thumri. Laggis are essenial component when the laya is increased. Ut. Nizamuddin Khan was a great musician and thumri accompanist. In bhajan, dhumali, qawwali, dadra are used. Bhajani theka is a popular theka used for this form. Laggi is normally played following the first stanza, ended with a small tihai or tod. In taraana, the drut laya prompts the tabla player to play prominent tihais and tukdas while accompanying. In this form, the player may have a higher scope to demonstrate riyaaz. Instrumental Accompaniment Accompanying instruments such as sitar, sarod, sarangi, harmonium, and flute is quite different from accompanying vocal artists. Unlike vocal accompaniment, tabla players have more scope to play compositions apart from just the theka. The tabla accompanist can present gats and other non-expansionary pieces to enhance the performance. It is important for the tabla player to still keep his pieces relatively small as to not disturb the main artist's performance, as it is not a tabla solo. Sometimes, tabla players will incorporate uthaan, gat, kayda, and even relas as suited within the performance. When the instrumentalist plays in drut laya, the tabla player can present a small and attractive tihai before starting the theka in drut laya. Instruments are played in the gayaki ang and alternatively in the tant ang. Gayaki ang compositions mirror the vocal style of khayal, while the compositions presented in the tant ang are called gat. The gat presented in the vilambit laya is called masidkhani gat, while the one in drut laya is called razakhani gat. Accompaniment to khayal presented by instruments such as the violin and the flute is similar to vocal accompaniment, yet the tabla player has more scope to play pieces in accompaniment of gayaki ang instruments as compared to khayal itself. Within the masidkhani gat, the vilambit laya is not as slow as vilambit khayal. The masidkhani gat is primarily played in teentaal, jhaptaal, roopak, ektaal, ada-chautaal, as well as some rare taals such as matta and rudra. The presentation of a raga via an instrument goes from alaap, jod, masidkhani gat, razakhani gat, and finally jhala. When the gat commences, the tabla player can play a few awartans. It is wise to play the peshkaar here and arrive at the sum with a tihai, after which a weighty and emphasized theka should be continued. The main artist is expected to perform several aspects of layakari and chhand, and when signaled, the tabla player should stick to the topic and respond with a tabla composition with the same layakari. A perfection in kaydas, relas, etc is crucial for accompanying instruments because the tabla player requires immense taiyyari and precision. The tabla player should have knowledge and taalim in various unconventional layas as modern instrumentalists often explore them. Even more advanced layakari includes 7 in 5 maatras, 10 in 7 maatras, 14 in 10 maatras, 8 in 9 maatras, etc. The jhala played in instrumental music tests the physical stamina of the tabla player. This form is primarily played in teentaal and sometimes in ektaal. Here, the tabla player's practice of "na dhin dhin na" and anu-drut teentaal or ektaal comes in handy. The quality of naad should remain unhampered until the last awartan and ending tihai. Dance Accompaniment A crucial component of Indian Classical Music is the kathak dance. Its literature resembles the literature of tabla, and accompaniment to dance is not as easy and spontaneous as accompaniment to vocal music or instrumental music. For dance accompaniment, it can prove beneficial to practice with the dancer beforehand. Every dancer has set gats, todas, and chakradaars which vary from gharana to gharana. A successful tabla soloist has the potential to be a great dance accompanist. The dance baaj is mainly the khula baaj with gat-tode and chakradaars. The tukdas, chakradaars, etc therefore need to be memorized and practiced before hand. In dance, there is a creation of various rasas such as the shringar rasa, the karuna rasa, the shanta rasa, and the gambhir rasa. The tabla player must provide accompaniment that is conducive to different rasas. It will provide beneficial to watch different maestros and dancers being accompanied by tabla accompanists. Pt. kishan maharaj The Correlation Between Solo and Accompaniment There is a significant relation between solo playing and accompaniment. A tabla player who is very good solo player has the ability to be a good accompanist as well, taking the roles of a main performer and a supporter at different times. A person who only studies local thekas such as bhikmaang and jaggu thekas may not be able to accompany instruments or dance very well. A person who has done extensive riyaaz and has studied tabla in depth is more flexible and all-rounded, and may even be able to accompany movie songs as well. It is important than an accompanist feels devoted and interested about all instruments and vocal styles in order to conduct an appropriate and enjoyable performance. Although he may not be an expert in instruments or singing, he should have listened to all styles well. An accompanists' creativity, observation, and maturity should be spiked in order to have quality on stage. In ideal accompaniment, he should complement the main artist and should contributed towards the success of the overall performance. By forgetting previous solo-playing skills and reputation, a tabla accompanist should remain humble. There should be an awareness of the softness and hardness (naad) of bols played during various songs and instrumental pieces. Appropriate tabla pieces an expressions should complement the story that the instrumentalist, singer, or dancer is continuously writing. BACK TO TOP

CHALAN A chalan is a catchy and bouncy theme, and this theme is later elaborated into a connecting rela matching the same pattern or flow. In general, it is similar in structure to kayda, however it does not always establish rules for development. Instead, a chalan is a movement (“Chalna'' in hindi means to move). It includes a variety of bols (gat-like bols). A clear theme can be experienced in a chalan. Chalan is a popular concept from the Farrukhabad Gharana. In solo playing, some Gharanas start with Uthaan, but in Farrukhabad Gharana, the solo performance is oftentimes started with chalan. Examples: Timestamp 0:55 BACK TO TOP

riyaaz Tabla is an instrument that demands hard-work and diligence, and several veterans have given input on the various types of effective riyaaz. One must learn the difference between “revision” and “riyaaz.” Many students practice for 1-2 hours daily, but only play what has been taught a few times, or try to cover a lot of material in that time period. However, in order to achieve a balance and flow between the dayan and bayan, constant repetition of the composition, whether it be a short composition such as gat or tukda or an expansionary composition such as the mukh of a kayda, is necessary. There are two main strategies for acquiring a flow between the daya and baya. Start off from a slower laya and increase the laya in increments to a faster laya, keeping the tonal quality pure throughout. Start off with clear and crisp notes and then automatically loosen the wrist while increasing speeds to prevent your hands from being stuck as you progress. Gradually increase the crispness and sharpness of your bols as you progress from a slower laya to a faster laya. No matter what approach, the effect is the same: a connection and synchronization between the left and right hand, as well as a smooth flow with the laya on mark with the lehra, with minimal musical distortion. We must divide such an extensive topic into two subtopics, Practical Riyaaz and Theoretical Riyaaz. Practical Riyaaz Nikaas - the way that sound is generated. Akshar Sadhana - treat each bol as significant. The Clarity of Bols - tonal quality Dexterity - the ease of playing smoothly Stamina - prolonged playing in a diverse range of layas Theoretical Riyaaz Detailed Understanding of Solo Playing Knowledge of Gharana Theory of Taal One of the most important aspects of understanding how to do riyaaz is to understand which compositions played for a very long amount of time are beneficial for “forming” the tabla player’s hand. The introductory kaydas gifted to us by the Delhi gharana are the mantras of tabla. A mantra, in yoga and ancient Indian culture, is a phrase that is repeated constantly throughout a lifetime, and which leads to spiritual progress and advancement towards God. Similarly, if “mantra” kaydas such as “dha dha tite dha dha tin na,” “dhagetite kdadhikite dhagenage tinakena,” “dhatite dhatite dhadhatite dhagetinakena,” etc are played for a long time, other kaydas that may be taught in class are automatically cleared. The balance between the daya and bayan is improved because such kaydas do several different finger movements and exercises on the tabla, such as the horizontal movement “tina” or the vertical stretch of the index and middle fingers through “tite.” Other things that also help restore the balance between daya and baya are slowing down the speed to a comfortable laya. Optimally, this should be a laya that is not too fast (which can make it hard to concentrate and give importance to each phrase) nor too slow. That being said, it is important that compositions such as kaydas can be played in various layas, and tempos (single/double/quadruple if necessary) in order to show grasp of layakari. During riyaaz, the clarity of bols, due importance to each bol, volume of tabla, flow/gap between bols in accordance with laya, and ease of playing are some of the things that must be investigated. Some Methods of Intense Practice Wearing weights/ heavy bangles on wrists and playing in order to improve strength Chilla: constant playing for several hours continuously for several consecutive days, often described as torture but improves stamina significantly. Can provide energy for months. Some legendary Ustads/Pandits used to practice on tablas with low sound or even a wooden platform in order to improve tonal quality and volume. Putting a cloth on tabla and then practicing, helps for volume. All forms of such intense practices have advantages and disadvantages, short term gains and long term losses. For this reason, a variety of different practices is needed in order to be an all-rounded tabla player. BACK TO TOP

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Notation systems Throughout time, the development of notation systems has allowed musical compositions to be expressed in writing according to their grammar. This process has allowed people to store compositions and communicate them so that there was no content loss even after an extended amount of time. There are two main notations utilized while writing down tabla compositions: the Pt. Bhatkhande notation system (created by Pt. Vishnu Narayan Bhatkhande) and Pt. Paluskar notation system (created by Pt. Vishnu Digambar Paluskar). Pt. Bhatkhande Notation System Sum - an "x" is used below the syllable. Taali - the number order of the taali is written below the syllable. For example, if a given syllable occurs at the 3rd taali of the taal, put a 3 there. Khaali - an "o" is used below the syllable. Vibhaag - The symbol " | " is used after every vibhaag -If there is 1 syllable in a given maatra, such as "dha," then do not put any symbol below the maatra. -If there are multiple syllables in a given maatra, such as "dhatitedha," then put an upward curve below the maatra. -A pause is noted with an "S". Examples in Pt. Bhatkhande notation system: Pt. Paluskar Notation System Sum - a "1" is used below the syllable. Taali - the number of the maatra is written below the syllable. For example, if the taali occurs at the 5th maatra, then put a 5 there. Khaali - a "+" is used below the syllable. Vibhaag - The symbol " | " is used after the completion of the entire taal. It is not used after each vibhaag. -A pause is noted with an "S". -If there is 1 syllable in a given maatra, such as "dha," then put a horizontal line " _____ " below the maatra. -If there are 2 syllables in a given maatra, such as "dhage," then put 2 tiny circles " ○ " below the maatra, 1 for each syllable. -If there are 3 syllables in a given maatra, such as "takite," then put 3 squiggly lines " ∽ " below the maatra, 1 for each syllable. -If there are 4 syllables in a given maatra, such as "tinakena," then put 4 upward curves " ⌣ " below the maatra, 1 for each syllable. -If there are 6 syllables in a given maatra, such as "dhagetinakena," then put 6 double squiggly lines " ≈ " below the maatra, 1 for each syllable. -If there are 8 syllables in a given maatra, such as "dhatidhagetinakena," then put 8 double upward curves " ⋓ " (a little better looking than that lol) below the maatra, 1 for each syllable. -A pause is noted with an "S". Examples: Comparison between both notation systems Pt. Bhatkhande notation system provides us information about the position of the taali, khaali, and vibhaag of the taal. However, if there are multiple syllables in a maatras, we always put an upward curve below it, and we can't understand the jati of the maatra or how the maatra was divided. For example, there is no way to distinguish between writing a tisra jati 1/6 maatra bol and a chatushra jati 1/8 maatra bol. We are also unable to easily deduce which maatra a particular taali falls on because the number order of the taali is written, not the number of the maatra on which the taali falls on. Pt. Paluskar notation system also provides us information about the position of the taali and khaali, but does not indicate the vibhaag of the taal. However, we can more accurately communciate the value of multiple syllables within a maatra as per its intricate indication system. Still, there is no provision for the 1/5th or 1/7th maatra. Pt. Bhatkhande notation system is the system of choice for long compositions because it is faster to write in and we don't have to worry about indicating the maatra-value of each individual syllable like Pt. Paluskar notation system. All types of jatis may be expressed in Pt. Bhatkhande notation system. On the other hand, Pt. Paluskar notation system is more useful for communicating the jati of various phrases and smaller concepts such as tigun and chaugun of various taals like teentaal and ektaal. However, it may take more time. Both systems have their advantages and disadvantages. *For exams: While writing compositions, try to include the maatra count, which maatras the taali occurs on, which maatras the khaali occurs on, and the vibhaag of the taal. This helps to organize the notation and symbols in the actual awartan. Examples in both notation systems: BACK TO TOP

MUKHDA VS MOHRA VS TUKDA VS UTHAAN To be added.

TABLA STRUCTURE tabla legacy NOTES A "tabla" comprises of the daya and baya. The entire drumhead, including the gajra, is called the pudi. Tabla players play the daya with their dominant hand, and the baya with their non-dominant hand. Daya The daya's body is hollow and made of wood. A separate daya can be made for each swar, or musical note. For example, C sharp and F dayas have different diameters and dimensions according to their physical characteristics. The tabla pudi is usually made of goat skin. The incorporation of shahi allows for a greater scope of resonance. Baya In ancient times, the baya used to be made out of clay, but is now made out of various types of metals such as steel or copper. Both the daya and baya can be tuned to a particular frequency. The gatthe may be pushed down or pulled up to increase or decrease the pitch, respectively. For smaller increments of change, a player may hit the gajra with a hammer downwards or upwards, increasing or decreasing the pitch, respectively. Hitting downwards increases the tension of the pudi while hitting upwards eases the tension. Tuning and Various Scales BACK TO TOP

history: origin and development Tabla, although relatively young compared to the history of Indian Classical Music, has gone through various phases of development in the past few hundred years. Even though it is new, we don't have enough evidence and proper documents to confidently pinpoint its origin or how it was invented. There are many theories regarding the origin of tabla. 1. Reference to Bharat Muni’s Natyashastra : There is an instrument mentioned in Sage Bharat Muni’s Natyashastra called tripushkar. Tri means three. Pushkar means blue lotus.The concept of this instrument probably existed after rain droplets were observed, which made a sound after hitting the pushkar (blue lotus) leaves. There are 3 components to it: Urdhwak - Urdhwak means upright. This instrument was kept perpendicular on the floor. Aalingya -Aalingya means hug. This instrument was tied with a strap and worn around the neck. Ankik - Ank means thigh. This instrument was kept in the lap. Of these 3 the aalingya faded away because of its awkward position and what remained was the tabla. 2. Reference to Vedas / Bhoomi-Dundubhi : There is an instrument called bhoomi-dundubhi; bhumi means earth and dundubhi means percussion. People in ancient times attempted to stretch animal skin on earth and hit it with sticks or danced on it to produce sounds, which may be the origin of all percussion instruments including tabla. 3. Lala Bhawanidas Pakhawaaji : There was a maestro called Lala Bhawanidas Pakhawaaji. He was a court maestro for an empire. Lala Bhawanidas Pakhawaaji lost a pakhwaaj competition (which was like a war and hence called dangal), and in anger threw the pakhawaaj on the floor. The pakhawaaj broke in two pieces. As the instrument was worshiped and it was an offense to break it, Lala Bhawanidas felt guilty. As a result, he tried to tape it back. The resulting instruments sounded totally different. One was called tabla and the other dagga. “toda tab bhi bola... is liye tabla" (the instrument made a sound even after breaking). 4. In Middle East : In Sumerian and Babylonian scripts, the word "balag" refers to percussion. There were instruments called tabal baladi, tabal turkey, tabal jang, tabal sami, tabal mirgi, etc. During war, they used to put two instruments on the back of a camel in order to increase the energy and morale of warriors and to motivate them. They played such instruments using sticks. The resemblance of such terms and the word "tabla" indicates a trace back to the origin of tabla. 5. Amir Khusro : In the 12th century, Amir Khusro created a plethora of instruments. He also created numerous raags, taals, and more. He was regarded as a very talented and creative musician. Some even say that he is the founder of tabla. In Madanula Mousiqi, a book written by Muhammad Qaram Imam, there is no mention of tabla but the writer gives credit to Amir Khusro of producing 17 taal/thekas, many of which were based on Persian beats (behers). However, in the 16th century during Akbar’s era, Abul Fazal wrote a book called Aaina-e-Akbari, which has no mention of tabla. This hints that tabla was not in existence before that era and is not as ancient as other Indian Classical instruments. Furthermore, the advanced structure of the tabla, namely the shahi, proves that the tabla is not older than a few hundred years. 6. Emperor Muhammad Shah : Emperor Badshah Muhammad Shah II employed Rehmat Khan to play pakhawaaj in his court. His second son was also named Amir Khusro who also used to learn khayal gayaki from Sadarang-Adarang who were the founders of that style. 7. Khayal Gayaki : In the 17th century, khayal gayaki came into existence. Musicians Sadarang-Adarang founded and popularized the style of singing. At that time, pakhawaaj was the only percussion instrument used to accompany dhrupad music, but it had a very robust sound with a heavy bass. The volume and type of sound was not completely suitable for the accompaniment of khayal gayaki, so they wanted an instrument that was more delicate and sonorous to sync with this style of singing. The tabla was created as an apt substitute. 8. Khushro Khan : During the same time frame, it is claimed that another pakhawaaji known as Khushro Khan found tabla for accompaniment of khayal gayaki. The resemblance in the names Amir Khusro and Khushro Khan might be a reason why the credit of discovering tabla is oftentimes given to Amir Khusro. Development and changes in recent times: The shahi that was used earlier was a fine powder of iron: mixed from a paste of starch, glue, and water. Nowadays, stones are collected from a river in Ahmedabad, which are abundant in manganese ore. They are crushed into a very fine powder and then the layers of the paste are applied on the pudi. The first layer is applied over a layer of glue, and is sun dried for a couple days. After this layer is dried, consecutive layers are applied, each layer being completely dried with the help of a rubbing stone's friction. A very smooth stone is used for this job, and the water left in the layers is evaporated with the heat that is generated due to the friction. What remains is a dry shahi, which needs to be dried furthermore before the tabla can be used. Dr. C.V. Raman : A great physicist with a good musical background, he researched and experimented with the physics involved in tabla. He discovered the overtones of tabla and thoroughly analyzed them. He has presented an interesting paper on the nodes and anti-nodes produced after the strikes on tabla and dagga. If the generated frequencies of the instruments with no shahi are compared with that of the instruments with shahi, it is observed that the frequency of the instruments with shahi are almost 20% more than without. The sustenance of the sound is mainly because of the shahi. Instruments with shahi not only can be tuned to a particular note but also help in maintaining and enhancing the musical aspect of presentation, especially during accompaniment. Dr. C.V. Raman also attempted to use monkey skin and nuts and screws to tune the tabla, but this concept did not completely work as the sounds were distorted. When you pull up the tabla, there is a process of how it should be done. If the tabla's waadi is pulled in an uneven way, there remains no proper balance of the pudi, which can affect how different bols are played. But nowadays, some creative tabla makers have come up with a tabla that can be tuned to 3-4 notes in a shorter duration of time. These tablas are made with double pudis and can be tuned using nuts and bolts by either tightening or loosening them. Today, tabla makers have also come up with a modern synthetic waadi in place of one made of animal hide. In ancient times, the dagga was made up of clay/mud, but tabla makers shifted to using metals such as steel or copper as they are far more durable. There are many legends about how tabla came into existence, but all critics, musicians, and listeners unanimously agree on it being one of the most sonorous and useful instruments in Indian Classical Music. BACK TO TOP

palta Expansionary compositions such as kaydas or relas are improvised upon through the help of paltas. A palta is a variation which is derived from the bols of the mukh or theme of the kayda or rela. Paltas help to show different combinations of a mukh using the bols of that mukh. Mathematically, we can come up with a seemingly endless amount of permutations and combinations using a specific language, and the expansion process differs from player to player. Refer to kayda in order to review some key points regarding the process of creating paltas of a kayda. BACK TO TOP