Search Results

Gat-tukda A gat-tukda has the same chaal as that of a gat and ends with the tihai of a tukda. There is a difference between a tukda and a gat-tukda. While a tukda normally is tied to one laya, a gat-tukda may also incorporate various complex phrase segments set to different layas. A gat-tukda, or "toda," oftentimes carries a variety of laya, powerful and heavy bols (characteristic of gat), and arrives on the sum with a tihai (characteristic of tukda). ​ Definition of gat: Click Here Definition of tukda: Click Here ​ ​ ​ ​ BACK TO TOP

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.

fundamentals essential concepts of tabla

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

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. ​ Chakradaars are fixed compositions. Many chakradaars have khula baaj bols and can also be found in presentations of kathak. Although most chakradaars are composed in teentaal, if the number of maatras in the chakradaar is a multiple of some other taal maatra, then the chakradaar may be played in the other taal as well. For example, an 80 maatra chakradaar may be played in both teentaal and jhaptaal. Additionally, a chakradaar composed in teentaal may be converted to any other taal by increasing or decreasing the time duration of the pauses between the 3 sections. Apart from 32 maatra and 64 maatra chakradaars in teentaal, all other chakradaars are usually played in baraabar laya. Each of the 3 individual tihais or sections of a chakradaar is sometimes called a "chakra". Because of its long, anticipatory, and exciting nature, the last few compositions played in a solo performance are often chakradaars. ​ ​ Simple Chakradaar ​ A regular chakradaar, a tihai played 3 times to arrive on the sum. ​ ​ Farmaishi Chakradaar 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://youtu.be/Uva2l3rnNLw ​ ​ Kamaali Chakradaar ​ The word "kamaal" means amazing or skillful. Similarly, a kamaali chakradaar is skillful and even more intricate than a farmaishi chakradaar. It involves unique mathematical calculations and patterns. A kamaali chakradaar incorporates 27 "dhas", of which the 1st dha of the 1st section lands on the sum, the 14th dha of the 2nd section lands on the sum, and the 27th and last dha of the 3rd section lands on the sum. Each of the 3 tihais or "chakras" of a kamaali chakradaar requires 9 "dhas". Each of the 3 tihais or "chakras" of a kamaali chakradaar requires 9 "dhas". ​ In other words, there are 3 sections. There are 3 tihais within each section. There are 3 "dhas" in each tihai. The 1st dha of the 1st tihai of the 1st section lands on the sum. The 2nd dha of the 2nd tihai of the 2nd section lands on the sum. The 3rd dha of the 3rd tihai of the 3rd section lands on the sum. ​ ​ 8 Maatra Method ​ Often times, tabla players will treat teentaal as a 8 maatra cycle in order to compute big chakradaars easily. With this being said, each chakradaar we calculate with the 8 maatra method will actually be twice as many maatras when played. If this is the case, then a 18 maatra tihai played thrice, with a 1 maatra pause, will equal 56 maatras, fitting in 7 awartans of actual teentaal. A 56 maatra chakradaar , also fits in rupak, ada-chautaal, and dhamaar because 56 is a multiple of 7. However, not all chakradaars that are farmaishi in teentaal will remain farmaishi in other taals. A 26 maatra tihai would equate to 80 maatras, fitting 10 awartans of actual teentaal. This conversion cycle of treating teentaal as a 8 maatra cycle is also beneficial in drut laya where it is harder to count the individual maatras. ​ In the first example above, we calculated a 18 maatra tihai with a 1 maatra pause, meaning 56 maatras. If the pause is increased to 3 maatras, then we get a 60 maatra chakradaar, conveniently fitting in jhaptaal (60/10 = 6), ektaal (60/10 = 6), and pancham sawari (60/15 = 4). Keep in mind that this 60 maatra chakradaar is actually 120 smaller maatras when played because 60 big maatras times (2 smaller maatras per 1 big maatra) is 120 smaller maatras. (We are still using the 8 maatra method as discussed above). This way, we are able to convert chakradaars into our desired taal. ​ ​ Nauhakka ​ In a nauhakka, a phrase is played with nine times, with 8 equal pauses in between. Example: tite kata GD GN (4 maatra) with a pause of dhaS ne (1.5 maatra) will fulfill (4 times 9) + (1.5 times 8) = 36 + 12 = 48 maatras = teentaal. This nauhakka can be played in drut teentaal if "titekataGDGN" is treated as 4 small maatras. A misconception is that if a tihai is played thrice, it becomes a nauhakka, but this isn't always true because the 8 pauses in between the 9 phrases need to all be of equal length. ​ BACK TO TOP

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 tihai. The term “aamad” was utilized after the Mughal era, before which presentations would start with an uthaan. 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

Definitions Brief definitions for common terms used in the world of tabla. Explore Types of Compositions and various categories in Fundamentals for more complete descriptions. 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 presented at the beginning of a Kathak performance is called Aamad. ​ Alaap - A slow, improvised section in the beginning which introduces the raag. ​ Ati-Drut/Anu-Drut - Extremely fast tempo. ​ Ati-Vilambit - Extremely slow tempo. ​ Awartan - An awartan is one cycle or rotation of a particular composition. In tabla, if a composition is played once, from sum to sum, one awartan of that composition is played. For example, one awartan of teentaal will be of 16 maatras, whereas two awartans of teentaal will be of 32 maatras. ​ Baaj - Playing style. ​ Bada Khyal - A singing composition sung in the slow tempo. ​ Bandish - Composition. ​ Baraabar - Equal rhythm of time; equi-tempo. ​ Baya - Round drum on which bols like ge and ke are played, usually with the non-dominant hand. ​ 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). ​ Bhareev Theka - A theka filled with a substantial and appropriate amount of syllables. ​ Bhari - A packed or heavy portion of the taal. ​ Bol - Syllable or note played on the tabla. ​ 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. ​ Chalan - A set of syllables that represents a verse. ​ 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. ​ Chaupalli - "Chau" + "palli" implies 4 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a chaupalli, not only are there 4 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. ​ Cheez - Composition; usually in reference to bandish of raag. ​ Chhota Khayal - Type of composition sung in a fast tempo. ​ Danedaar Theka - A theka with precise bols that still gives off the overall ambience of the theka. Similar to a pearl necklace: even with beautiful individual pearls, an admirer can look at the necklace and distinguish it as a whole. ​ Daya - The tabla, or the drum played usually with the dominant hand. ​ Dhun - a light tune; a folk melody. ​ Drut Laya - Fast tempo. ​ Dugun - Dugun is when a phrase is played two times, at twice speed, within a certain time interval. Whenever 2 maatras are played within a time span of 1 maatra, it is considered dugun. ​ 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. ​ 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. ​ Gajra - a four ply leather hoop surrounding the face of the tabla which lies around 0.5 to 1 cm below the pudi. ​ Gambhir Rasa - Serious mood. ​ 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. ​ Gat-Kayda - A gat-kayda is a composition which uses the expansion rules of a kayda but uses the language of a gat. A gat-kayda utilizes the chaal or flow of a gat. It is found in Lucknow and Farrukhabad Gharanas. Although it is an expansionary composition, the extent to which it may be expanded is usually less than a regular kayda because the bols used in this composition are heavy bols found in gats. ​ 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. ​ Gatthaa - A wooden cylindrical block which is utilized in order to adjust the pitch of the tabla. ​ Gayaki Ang - A form of playing melodious instruments with a close similarity to the vocal form. ​ Gharana - A school of Indian Classical Music. ​ Ghazal - A light vocal musical form sung with poetic aesthetics. ​ Gheeskam - A style of playing the baya. ​ Ghumara - A style of playing the baya. ​ Guru - A teacher. ​ Jati - Indicates creating a distribution of syllables in a particular maatra in various ways. ​ Kamaali Chakradaar - The word "kamaal" means amazing or skillful. Similarly, a kamaali chakradaar is skillful and even more intricate than a farmaishi chakradaar. It involves unique mathematical calculations and patterns. A kamaali chakradaar incorporates 27 "dhas", of which the 1st dha of the 1st section lands on the sum, the 14th dha of the 2nd section lands on the sum, and the 27th and last dha of the 3rd section lands on the sum. Each of the 3 tihais or "chakras" within a kamaali chakradaar requires 9 "dhas". ​ Karuna Rasa - A compassionate mood. ​ 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. ​ Khaali - A khaali can be represented by taking your hand away or striking with the back of your hand during recitation of a taal. It represents the starting maatra of a khaali, or hollow, division. ​ Khalifa - Heir. ​ Khayal - A vocal musical form which was popularized after Dhrupad/Dhamaar. ​ Khula - Open. 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. ​ Laggi - A short, attractive theme played in drut laya in taals such as dadra or keherwa. It is one of the smallest expandable compositions, of which the variations or referred to as "laut-palat," meaning "back and forth," referring to the combinations made in the variations of the laggi. A laggi is a useful composition for accompaniment. ​ 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 the rules of Indian Classical Music. ​ 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. ​ Lehra - A repeating melody used to accompany tabla solo-playing in a given taal. ​ Maatra - A maatra is a medium of measuring the taal. It is the smallest whole unit or "beat" of a taal. Each taal has a set number of maatras, and each maatra is of equal length. Example: Teentaal has 16 maatras of equal length. In literal terms, maatra means "part". ​ Madhya Laya - Medium tempo. ​ Masidkhani - Type of composition played on instruments like the sitar in a slow tempo. ​ Meend - A style of playing the baya through controlling the resonance. ​ Mehfil - A musical function/concert, with a small audience and intimate setting. For example, ghazals were often sung in house mehfils. ​ 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. ​ 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. ​ Naad - The sound that is produced from playing a certain bol on a musical instrument. ​ Nikaas - A style of presenting or expressing a certain bol through an instrument. ​ Nishabda - A soundless activity which may be indicated by the movements of our hands. ​ Pakhawaaj - An Indian drum placed horizontally. ​ 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. ​ 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. ​ 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. ​ Raag - A melodic framework in Indian Classical Music improvised upon in various ways. ​ Rasa - A mood or taste pertaining to various raags. ​ 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. ​ Riyaaz - Practice. ​ Sampadi - A taal in which all divisions have the same number of maatras (Ex. teentaal, ektaal, chautaal, ada-chautaal). ​ Sangeet - Sangeet is the combination of the 3 arts in Indian Classical Music: singing, instrumental playing, and dancing. ​ Sashabda - An activity which includes sound and which can be indicated through the movements of the hands. ​ Shanta Rasa - Tranquil mood. ​ Shringar Rasa - Erotic mood. ​ Sum - Sum refers to the first maatra of the taal. In other words, it is a beginning. The main function of the sum is to establish a point of resolution or emphasis. In theory, it represents a "restart" of a cycle of taal. ​ Swar - Swar refers to distinct musical notes of various frequencies. (Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa). ​ Taal - Taal refers to a system of rhythmic pattern in Indian Classical Music. Rhythm is a fundamental concept for music. While there a various types of taals, with different characteristics and number of maatras, songs, instrumental compositions, and dance compositions in Indian Classical Music are established in a certain taal. This way, taal is a technique of measuring time in musical compositions. ​ Taali - A taali can be represented by the clapping of hands during recitation of a taal. It represents the starting maatra of a bhari, or packed, division. ​ Taan - A fast phrase sung or played on an instrument which includes intricate note patterns. ​ Taleem - Education, direction. ​ Tatkaar - -A prominent activity constituting Kathak. ​ Tayyari - Readiness or maturity. ​ 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. ​ 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. ​ Tihai - A tihai 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. ​ Tripalli - "Tri" + "palli" implies 3 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a tripalli, not only are there 3 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. ​ 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. ​ Upaj - A spontaneous expression which is irreproducible due to its impromptu nature. ​ 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. ​ Vazandar Theka - Theka with weighty bols. ​ Veer Rasa - Heroic mood. ​ Vibhaag - Vibhaag, or khand, are divisions made within a taal as per the khaali and bhari (packed and hollow) components of a taal. A vibhaag can be of even or odd number of maatras, and different taals may have different vibhaags. For example, teentaal has 4 vibhaags of 4 maatras each (4+4+4+4) whereas rupak has 3 vibhaags of 3,2,2 maatras (3+2+2). In other words, vibhaags are subsections made within a particular taal. ​ Vilambit Laya - Slow tempo. ​ Vishampadi - A taal of which divisions are of various numbers of maatras (Ex. Dhamaar). ​ BACK TO TOP

ROU A rou signifies the presentation of a particular chalan followed by a suitable rela. After a chalan is established, the introduction of a rela based on the syllables of the chalan, with a similar structure of naads and tones, and which rejuvenates the experience of the original chalan, is referred to as rou. While an ordinary rela is presented as a single-double composition similar to a kayda, a rou utilizes instead a chalan to outline a structure and flow, and then transitions into a rela with the same structure and flow. There exist less restrictions while expanding the chalan into a rela and the artist attempts to slowly "merge" small phrases from the rela into a chalan to transition smoothly. The various weights of a chalan are seen in the rela, even though the rela may have more consonant usage such as "TRKT". ​ ​ ​ Example (Teentaal): ​ chalan: dhaSSS SSdhinS SSSS dhaSSS (similar to punjabi theka or addha taal) rela: dhaTRKTTK dhinTRKTTK dhaTRKT (dha,dhin, dha align with the bols of chalan) ​ ​ ​ Example (Jhaptaal): ​ chalan: dhagenadha getrakedhi nedhagena dhagetrake tinakena +khaali rela: dhaSTRKTdhaS TRKTTKTR KTdhaSTRKT dhaSTRKTTK tinSTRKTTK +khaali BACK TO TOP

1. Prarambhik The Prarambhik tabla exam is an elementary level exam meant to introduce the basics of tabla. It helps the student understand basic definitions and introductory compositions. Sylllabus Theory 1. Definitions Maatra Taal Sum Taali Khaali Vibhaag Dugun Awartan Notes Maatra - A maatra is a medium of measuring the taal. It is the smallest whole unit or "beat" of a taal. Each taal has a set number of maatras, and each maatra is of equal length. Example: Teentaal has 16 maatras of equal length. In literal terms, maatra means "part". ​ Taal - Taal refers to a system of rhythmic pattern in Indian Classical Music. Rhythm is a fundamental concept for music. While there a various types of taals, with different characteristics and number of maatras, songs, instrumental compositions, and dance compositions in Indian Classical Music are established in a certain taal. This way, taal is a technique of measuring time in musical compositions. ​ Sum - Sum refers to the first maatra of the taal. In other words, it is a beginning. The main function of the sum is to establish a point of resolution or emphasis. In theory, it represents a "restart" of a cycle of taal. ​ Taali - A taali can be represented by the clapping of hands during recitation of a taal. It represents the starting maatra of a bhari , or packed, division. ​ Khaali - A khaali can be represented by taking your hand away or striking with the back of your hand during recitation of a taal. It represents the starting maatra of a khaali , or hollow, division. ​ Taali and Khaali are ideas that represent the first maatras of multiple divisions, or vibhaags, of a taal. They are useful when presenting a taal on hand (Hasta Kriya) . ​ Vibhaag - Vibhaag, or khand, are divisions made within a taal as per the khaali and bhari (packed and hollow) components of a taal. A vibhaag can be of even or odd number of maatras, and different taals may have different vibhaags. For example, teentaal has 4 vibhaags of 4 maatras each (4+4+4+4) whereas rupak has 3 vibhaags of 3,2,2 maatras (3+2+2). In other words, vibhaags are subsections made within a particular taal. ​ Dugun - Dugun is when a phrase is played two times, at twice speed, within a certain time interval. Whenever 2 maatras are played within a time span of 1 maatra, it is considered dugun. ​ Awartan - An awartan is one cycle or rotation of a particular composition. In tabla, if a composition is played once, from sum to sum, one awartan of that composition is played. For example, one awartan of teentaal will be of 16 maatras, whereas two awartans of teentaal will be of 32 maatras. ​ BACK TO TOP

structured tabla database comprehensive and Categorized Tabla Legacy stimulates knowledge and understanding of tabla, one of the most versatile instruments in Indian Classical Music. Students can review significant components of the theoretical aspects of tabla, which will also help them in exams established by institutions such as Akhil Bharatiya Gandharva Mahavidyalaya and others. Tabla Legacy supports levels from Prarambhik (Introductory) to Visharad Purna (Bachelor's Part I). Tabla Legacy hopes to stimulate a learning process by providing information that can be analyzed for tabla examinations and personal development. Tabla Visharad Purna notes for theory-based knowledge are available as part of Advanced Content . HOW TO USE : Click on your desired exam level in the "THEORY" section. Alternatively, visit one of the several pages under "FUNDAMENTALS" in order to grasp the most essential information about tabla. Advanced Content is available for purchase. WHAT IS TABLA?

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