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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

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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. ​ Peshkaar means "pesh karna," or to present. It utilizes the essence of naad from both the daya and baya in order to experience the taal from different angles using different bols and patterns.The Peshkaar presents an opportunity for the tabla player to take a lot of liberty to improvise within the taal. The peshkaar may show the vibhaag/divisions, khaali, and bhaari components of the taal. 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. When considering a human lifestyle, the body needs a warm-up phase or interval in order to adapt to changes (such as weather, time changes, different behavioral patterns, etc). Following this need, 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 powerful kaydas and relas that may be played later. Peshkaar is a culmination point of intelligence, deep thinking, deep theoretical study, riyaaz, bol clarity, and aesthetic all at once, and thus is a valid point of introduction for the solo. Ut. Alla Rakha Khan said that peshkaar is like "pej katna," or cutting the rope of a kite. 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. 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. 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. ​ A peshkaar mukh 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. In Delhi Gharana peshkaar, whenever a design is produced in the peshkaar and a different laya is explored (such as 1.25 or 1.5), even then, the composition will ultimately end in the original laya. It will usually end in equi-tempo even when other patterns were explored. In the Farrukhabad Gharana peshkaar, bols such as "dhinSkda," "dhatit," "ghidan," "trake," "KTTK," and "tinetinakena" can be found. They utilize various kaydas in the peshkar in order to enhance the entertainment value. ​ ​ ​ BACK TO TOP

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. ​ phrase + pause + phrase + pause +phrase ​ 4 maatra tihai sample (8 beats per maatra): dhaSTRKTTK dhaSSSdhaSTR KTTKdhaSSS dhaSTRKTTK | dha In this sample, the phrase is 1 maatra while the pause is 1/2 maatra. Because the phrase is played thrice and pause occurs twice, 1 times 3 + 1/2 times 2 = 4 maatras total. Tihais end with a powerful emphasis on the bol "dha". After each phrase, a dha is played to start measuring the interval of the pause. For this reason, the dha is separate from the phrase, and is instead counted as part of the pause itself. The last dha marks the conclusion of the tihai. Usually (but not necessarily), this dha will land on the sum. A tihai of which the last dha lands before the sum is called anagat . ​ 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. ​ Ati-bedum tihai: The "dha" after the phrase is itself the pause, meaning that the pause is only 1/4 maatra. ​ A very short tihai is also called a tiyya. ​ The tihai is a very integral part of tabla playing as every expansionary composition (peshkaar, kayda, rela, etc) end with a tihai to conclude the specific composition/topic. Tihais are even included in select pre-composed compositions such as tukdas, chakradaars, and some gats. Additionally, there is no specific rule that tihais may only be played at the end of a composition. Oftentimes, tabla players will compose tihais of various phrases while presenting peshkaar. Some paltas of peshkaar or kayda may have a small tihai within the palta itself. ​ Tihais are closely related with mathematical complexity as tabla players spontaneously create tihais based on mathematical formulas. The types of pauses employed by tabla players include 1/2 maatra pause, 3/4 maatra pause, 1 maatra pause, 1 and 1/2 maatra pause, 2 maatra pause, etc. ​ ​ How to compose a tihai ​ Know the number of maatras in your taal and start with the phrase that you want to include in the tihai. For example, we are making a tihai in jhaptaal with the phrase "dhatidhage dhatidhage tinakena". Since the phrase is 3 maatras, the same phrase played thrice equals 3 times 3 = 9 maatras, so we still have 1 maatra left to complete one awartan of jhaptaal. Since there are two pauses, 1 maatra divided by 2 means a 0.5 maatra pause. ​ dhatidhage dhatidhage tinakena dhaSdhati dhagedhati dhagetina kenadhaS dhatidhage dhatidhage tinakena | dha ​ Supposed we want to make a 2 awartan tihai instead using the same phrase. With 20 maatras to spare, we can try a 6 maatra phrase, which will leave a 1 maatra pause. Simple play dhatidhage dhatidhage tinakena twice for the phrase. ​ If we wanted to make a tihai with the same phrase in pancham sawari (15 maatras), and if we decided that we wanted a 1.5 maatra pause, we will have 12 maatras left to work with because the pause occurs twice (15 - 1.5(2) = 12). 12 maatras total, divided by 3, gives us a 4 maatra phrase. We can make this 4 maatra phrase as "dhatidhage dhatidhage tinakena dhaSdhaS." It turns out that there is a small tihai included within the phrase as well, but the "dhaSdhaS" at the end is still part of the phrase. As it turns out, any taal of which the maatra count is a number divisible by 3 (such as pancham sawari - 15), we can have a 1.5 maatra pause and still manage to complete it sum-to-sum in one awartan. ​ dhatidhage dhatidhage tinakena dhaSdhaS dhaSSS SSdhati dhagedhati dhagetina kenadhaS dhaSdhaS SSSS dhatidhage dhatidhage tinakena dhaSdhaS | dha ​ While there are many more formulas and tricks to creating longer tihais, all tihais rely upon 3 equal phrases and 2 equal pauses. BACK TO TOP

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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. ​ BACK TO TOP

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

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

ladi Ladi implies a series. There are multiple viewpoints of the definition and significance of ladi. ​ "Lad" means a garland of flowers. Just as how the flowers are intertwined in such a way that it is impossible to distinguish and find the "starting point" and "ending point" of the garland, we are unable to find the "starting point" and "ending point" of a ladi, as well as where the sum occurs. Ladis often include heavy bols, as well as bols that are considered hard to play. According to Pt. Arvind Mulgaonkarji's book, the bols of a ladi are as if multiple threads were intertwined into a cord. According to Pt. Sudhir Mayinkar, ladi is similar to the word "ladai". "Ladai" in hindi means fight. He signifies that the nature of the bols of a ladi are such that the audience gets a delusion that they are fighting amongst each other. ​ A ladi has paltas and can be expanded. Just as how TRKT and DRDR are core phrases found in relas, "tite" is a core phrase found in ladi. "Ghidanage" is also occasionally found in ladi. ​ ​ ​ 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

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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.