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vocal styles Dhrupad - Dhrupad is an ancient, powerful, and extremely revered form of vocal classical music. In modern times, its quite rare to be able to listen to pure dhrupad in the Sanskrit language. Although we are unable to make definite remarks regarding the origin of dhrupad, we know for sure that it is one of the oldest forms of singing in Indian Classical Music. It was a very popular form 500-600 years ago, and all musicians in Akbar's court were dhrupad singers. Tansen was a jewel amongst all dhrupad vocalists, and was the supreme disciple of Swami Haridas. Dhrupad is even more comprehensive and powerful compared to forms such as khayal, with dhrupad's 4 main parts being asthayi, antara, sanchari, and abhogi, each part usually having 3-4 verses each. Dhrupad is a relatively serious and masculine vocal form of music, with a predominance of moods such as veer rasa (heroic mood), shringar rasa (erotic mood), shanta rasa (mood of tranquility). The language is of high quality and meaning. Dhrupad is sung in taals such as chautaal, soolphak, jhampa, tevra, brahma, rudra, etc. There is no "Tan" activity in dhrupad, and dhrupad was presented with various forms of gamak, layakari, bol-tan, etc. http://dhrupad.org/about/ ​ Khayal - Khayal is a persian word. Sultan Hussein Turki (ट) established khayal gayaki. The singer, using creativity, presents different swars in vilambit laya. Khayal did not always have the same reputation and status that it enjoys today. After dhrupad/dhamaar, khayal became very prominent in classical singing. Artists Sadarang and Adarang, vocalists with an exquisite degree of talent, composed several compositions in khayal gayaki under the emperor Muhammad Shah's court. Their work helped to popularize and expand the form of singing. Khayal gayaki can be performed in tilwada, teentaal, ektaal, jhoomra, ada-chautaal, and roopak. The shringar rasa is upheld to a great extent, and components of compositions often include emphasis, variety of words, purity, etc. Unlike dhrupad, there are no laya restrictions. It includes two main parts: the asthayi and antara. The vocalist is expected to adhere closely to the rules of the raag. The vocalist enjoys greater independence (khayal = thought) and also explores improvisation in the predominant alaap portion. Bada khayal is the vilambit portion of khayal, after which chhota khayal is presented in a faster speed. Khayal, today, is regarded as a rich, enjoyable, and reputable form of singing. https://en.wikipedia.org/wiki/Khyal ​ Thumri - Thumri originated from the presentation idea of combining dance and singing at the same time. Lucknow Nawab Wajid Ali (under pen name / singer name Akhtar Pia) composed many thumris. Thumri is a very romantic form of singing and has two parts: sthaai and antara. Many times, in thumri, the love between Radha and Krishna is expressed, oftentimes including the separation of both lovers. Thumri concludes by playing laggi at a very fast speed. It is normally sung in piloo, khafi, and khamaaj. It is also a shringar rasa predominant form. It is sung in taal punjabi (a version of teentaal), deepchandi, addha, and keherwa, in madhya laya. Although in the past the elite class did not consider thumri to be a primary form of singing, it is undoubtedly a very difficult and praiseworthy style. Lucknow and Benares are well known cities for thumri, yet Uttar Pradesh remains the highlight for the best thumri. https://www.darbar.org/article/an-introduction-to-light-classical-thumri-dadra-and-other-styles https://en.wikipedia.org/wiki/Thumri Bhajan - Appreciation of God and stories of God’s miracles, some spiritual advice, and devotional composition are included in bhajans. Many spectacular poets and saints from India have composed bhajans for spiritual purposes and bhakti. The importance of this style is that it can be done alone or in a group singing together, in which devotion towards God is expressed. Instruments used in accompanying bhajan are pakhawaaj, tabla, and tal. The most common theka used in accompanying bhajan is the bhajani theka. Various abhanga are concluded by playing a tod-tihai (small tihai). Example: dhinSSta SkedhinS taSkedhin StaSke | dhin. Two albums of Pt. Bhimsen Joshi, Abhang Waani and Sant Waani, have become very popular. https://www.darbar.org/article/an-introduction-to-bhajan-hindu-devotional-song https://en.wikipedia.org/wiki/Bhajan ​ Ghazal - Ghazal is a vocal form sung either in Parsi or Urdu language, in taals such as pashto, deepchandi, etc. Ghazal's predominant rasa is the shringar rasa. Themes such as the calling of love, separation sorrow, etc are found in ghazal compositions. Ghazal lyrics are often aesthetic, delicate, pleasing, and full of rich literary content and meaning. Several verses are labeled as "antara," and all antaras are sung in a similar fashion. Sung in ragas of light nature such as kafi, khamaj, and pilu, ghazal exemplifies and places importance on lyrical meaning, linguistics, and emotions such as love. https://en.wikipedia.org/wiki/Ghazal https://poets.org/glossary/ghazal ​ Taraana - Another singing style similar to khayal gayaki. It is said that Amir Khusro invented taraana in the 13th century. The words sung have no meaning (tadim, tadare, tundir, derena, etc). In taraana, the two parts are asthayi and antara. Taans are also used in taraana. At the end of taraana, the speed is increased and the bandish is sung again. The same bandish is presented in different layas as the speed increases. Although it has meaningless words, it can give the essence of drut laya (which is the main characteristic of taraana). In drut laya, the taraana is improvised in a similar fashion to sitar playing. It was created to stop the boundary of words as making a song out of words requires meaning and the words need to have a specific syllable count. In taraana, there are various phrases with different syllable counts, which can be organized in a multitude of ways. http://www.swarmanttra.com/vocal/types-of-vocal/tarana/ ​ Tappa - Compared to dhrupad and khayal, tappa is a brief and restless type of vocal music. There is a lesser number of words. The two parts of tappa are the asthayi and antara, and the taals employed in tappa are the ones used by khayal singers. It's a light form with a predominance of shringar rasa, sung in raags such as kafi, jhinjhoti, khamaj, pilu, barwa, bhairavi, etc. This form was popularized by Shouri Miyan, and the origin seems to be Punjabi as this form oftentimes utilizes Punjabi language words. Tappa singers utilize a fast tempo and attempt to present an attracting and fascinating experience. The tappa may be sung in a laya that is vilambit or madhya, yet the pronunciation of bols in tappa is fast, rapid, and surprising. https://en.wikipedia.org/wiki/Tappa https://www.swarganga.org/articles/details.php?id=2 ​ Chaturanga , trivat , and hori are also amongst the main styles of vocal singing in Hindustani Classical. BACK TO TOP

5. M adhyama pURNA The Madhyama Purna tabla exam asks for deeper knowledge on vocal styles, history of tabla, gharana, and accompaniment. The student should be able to write compositions in various layas such as aad, kuwaad, and biaad. The exam includes biographies of various great tabla players. The student's understanding of taal, as well as an analysis between peshkaar, kayda, and rela, will have to be reinforced. Sylllabus Theory 1. Various styles in vocal music: Dhrupad, Dhamaar, Ghazal, Tappa ​ 2. History of tabla from its origins to present times: changes and developments ​ 3. Knowledge of all gharanas of tabla and their baaj ​ 4. Knowledge about accompaniment to vocal, instrumental, and dance with associated guidelines and rules ​ 5. Ability to write thekas for teentaal, jhaptaal, and rupak in each of the following layas aad, kuwaad, biaad ​ 6. Definitions aamad, tripalli, chaupalli, gat kayda, kamaali chakradaar ​ 7. Biographies of the following tabla players and their contributions Ustad Ahmedjaan Thirakhwa, Ustad Amir Hussain Khan Saab, Ustad Alla Rakha, Ustad Habibuddin Khan, Pandit Samta Prasad, Ustad Afaq Hussain Khan, Swami Paagaldasji, Raja Chatrapati Singh ​ 8. Essay on taal and tabla ​ 9. Detailed comparative analysis of peshkaar, kayda, and rela Notes 1. Various styles in vocal music: Dhrupad, Dhamaar, Ghazal, Tappa ​ Click Here ​ 2. History of tabla from its origins to present times: changes and developments ​ Click Here ​ 3. Knowledge of all gharanas of tabla and their baaj ​ Click Here ​ 4. Knowledge about accompaniment to vocal, instrumental, and dance with associated guidelines and rules ​ Click Here ​ 5. Ability to write thekas for teentaal, jhaptaal, and rupak in each of the following layas aad, kuwaad, biaad ​ Try to write the theka in just one awartan: start the beginning maatras in baraabar (single) laya and then fill the awartan with the desired laya. How to write fractional layakari of any taal ​ When performing layakari, complex fractional forms can be used. Double 2/1 (Duppat) Triple 3/1 (Tippat) Quadruple 4/1 (Chaupat) 3/4 (Poundpat) 4/3 (Inverse of Poundpat) 5/4 (Kuwaad) 4/5 (inverse of Kuwaad) 3/2 (Aad) 2/3 (Inverse of Aad) 7/4 (Biaad) 4/7 (Inverse of Biaad) *The above method of referring to layas with fractions is adopted because it is easier to understand the speed in relation to the value of the fraction (as taught in school). For example, if the fraction is 7/4, it is faster than baraabar laya because 7/4 is greater than 1. If the fraction is 3/4 (Poundpat), then it is slower than baraabar laya because 3/4 is less than 1. The above method of referring to layas in terms of fractions smaller than or larger than 1 is found to be efficient because it directly indicates if the speed is slower or faster than baraabar. Think of the respective fractions as "multipliers". if the fraction is less than 1, it goes slower than baraabar Ex. (2/3) if the fraction is more than 1, it goes faster than baraabar Ex. (3/2) In order to master layakari in any taal, understanding the layakari with mathematical formulas is essential. For example, let’s try writing jhaptaal in kuwaad (5/4) laya. Step 1: The numerator of the fraction (5) represents the number of beats in each maatra while writing kuwaad. Step 2: The denominator minus 1 (3) represents the number of pauses to leave after each bol while writing Kuwaad. Step 3: Write the kuwaad of jhaptaal with 5 beats per maatra and 3 beats of pauses after each bol. → DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS Because writing the kuwaad of jhaptaal took 8 maatras, we can fill the first two maatras with pauses to complete one awartan of jhaptaal (10 maatras). → SSSSS SSSSS DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS We can use those steps to write the layakari of any taal in any laya. The above method can be used for writing layakari so that it fits within one awartan (sum-to-sum). However, we can also write the kuwaad of jhaptaal 5 times without the two maatras of pause in the beginning so that it fits in 4 awartaans of jhaptaal (40 maatras). We were able to find out that doing the kuwaad of jhaptaal takes 8 maatras by practically writing and finding out. But there is also another way of finding out how many maatras the layakari of a particular taal will be. Simply flip the numerator and denominator and multiply that by the number of maatras in the taal. Ex. The Kuwaad of Jhaptaal will be 8 maatras long The inverse of the Kuwaad fraction (5/4) is 4/5 4/5 times 10 maatras in jhaptaal is 8 Ex. The Aad of teentaal will be 10 and 2/3 maatras The inverse of Aad fraction (3/2) is 2/3 2/3 times 16 maatras in teentaal is 10 and 2/3 6. Definitions aamad, tripalli, chaupalli, gat kayda, kamaali chakradaar ​ Aamad - Aamad means "arrival". In general, a composition which gives a sense or intuition of arriving on the sum is aamad. In dance music, the introduction of rhythmic bols spoken at the beginning of a Kathak performance is called Aamad. It is an entry movement that traces itself back to the Mughal era. It is known to evoke a sense of grandeur and represents taking command of the area. In other words, it is a stylized way of taking an entry during a Kathak performance. Aamad corresponds to “alaap” or “peshkaar” in Indian music. The structure of an aamad is a body followed by a tehai. The term “aamad” was utilized after the Mughal era, before which presentations would start with an uthaan. ​ 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. ​ 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. ​ 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. ​ 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". ​ 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. ​ 7. Biographies of the following tabla players and their contributions Ustad Ahmedjaan Thirakhwa, Ustad Amir Hussain Khan Saab, Ustad Alla Rakha, Ustad Habibuddin Khan, Pandit Samta Prasad, Ustad Afaq Hussain Khan, Swami Paagaldasji, Raja Chatrapati Singh ​ Click Here ​ 8. Essay on taal and tabla ​ Click Here ​ ​ 9. Detailed comparative analysis of peshkaar, kayda, and rela ​ Peshkaar - A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. More Info ​ Kayda - An expansionary composition with a balance of consonant and vowel phrases which begin and ends with a vowel phrase is called a kayda. Kaydas have khaali and bhari components and divisions. The divisions of a kayda may either be symmetrical to the taal in which the kayda is established or may fall in odd places. More Info ​ Rela - An expansionary composition with begins with a vowel but ends with a consonant phrase. A rela has rapid bols and is played in drut laya, helping to create a harmonious chain or musical flow. Many relas are abundant in consonants. More Info ​ *In general, compositions become less improvisationary from peshkaar to kayda to rela as the speed increases and the inclusion of heavy consonant phrases increases. All 3 compositions, peshkaar, kayda, and rela are still expansionary because we can create variations of the mukh (theme). ​ *Difference between improvisation and expansion: While expansion implies that we can create variations and paltas of a particular composition, improvisation means that the player has liberty to take maximum freedom according to the rules of Indian Classical Music to show their individual thought process. Peshkaar is the most improvisationary because not only is it in vilambit laya (which allows for more time to fill the maatras), but the player may incorporate different types of bols while expanding. On the contrary, expanding a kayda requires the use of the only the bolds found in the mukh of the kayda. 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 Riyaa​z ​ 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

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. BACK TO TOP

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. ​ The kayda is an extremely important expansionary composition as it comprises the heart of a solo performance. It is the root of all expansionary compositions, however there are different opinions as to whether it preceded peshkaar or not. Although peshkaar gives a firm understanding of the respective tabla player’s thought process and readiness, kaydas are taught first during the learning process for a reason. The riyaaz and grasping of certain key phrases are impossible without the repetition of different kaydas. This, combined with the subconsciousness of understanding laya through the practice of kaydas with a lehra, provide the ground root of a tabla player’s initial preparation. Doing practice of kaydas fortifies the dexterity of the hand and makes it easier to understand different aspects of the taal. Usually, when a human being is given a strict set of rules, he/she is given a specific direction to turn to, which first limits the scope and freedom. However, eventually, after devoting to those rules and practicing them over and over again, a certain understanding develops and the individual matures. The word kayda derives from the word “Kayd,” which also means “rule, arrest, capture.” And so the same logic of preparation through direction can be seen within a kayda. ​ ​ ​ The kayda is the root of expansionary compositions. That being said, there are multiple rules, guidelines, or aspects to a kayda and its expansion process. ​ Kaydas start with vowel phrases (such as dhatidhage, dhadhatite, etc). There are certain exceptions (gat-kayda tekdhinenage starts with a consonant bol). Kaydas always end with vowel phrases Kaydas are played in madhya laya. Certain kaydas may be played faster than others depending on the bols and flow of the kayda. Kaydas are the heart of a tabla solo performance. Kaydas follow the khaali and bhari components of a taal, but they may not necessarily follow all the vibhaags. Kayda divisions, considering the kayda's taal, may fall in odd places and odd maatras. The bols of the paltas of kaydas must originate from the mukh of the kayda. ​ ​ ​ ​ Important Points to Consider ​ The paltas, or variations, of a kayda must unconditionally include only the bols found in the mukh or theme of the kayda. For example, a note which is banned from a raga will distort the rasa or mood of the raga. Similarly, playing a bol during the expansion process different from those found in the mukh will create a distortion and goes against the rules of Indian Classical Music. The expansion of a kayda is usually done in the order of the bols appearing in the mukh. For example, in the kayda "dhatidhagenadhaTRKT dhatidhagetinakena," "dhati" will be improvised first, then "dhagena," etc. The expansion of a kayda may be pre-planned as there are multiple factors involved in the expansion process (khand, khaali-bhari, bol order, etc). The bols found in the bhari should also be played in the khaali to complete an awartan properly. Several kaydas have been created using the delhi baaj. In this baaj, the expansion of the kayda is very systematic: mukh, dohra, adha-dohra, vishraam, adha-vishraam, palta, tihai. Other baaj may do this expansion is a different way or order. A kayda may be played in double laya, in which case it will be completed in half an awartan. However, in order to completely outline the awartan, tabla players will play the mukh in the following order: bhari, bhari, khaali, bhari, with 4 even divisions. Also, tabla players may attach the mukh to their paltas, in which case the order is palta (bhari), mukh, palta (khaali), mukh, also with 4 even divisions. This is the most common way of presenting a kayda. A kayda is presented with a single laya mukh, and then a double laya mukh. However, those with command over the laya will also explore the 1 and 1/2 laya (adi) in between single and double to provide a more musical transition. If the kayda is chatushra jati, then this means that the tabla player will temporarily explore tisra jati as part of this 1 and 1/2 laya. While coming up with paltas of a particular kayda, the suceeding palta will usually consider the previous palta and "expand" or "amend" it by considering the previous palta's pattern and changing a certain element. Randomized paltas that are individual with no connection to the previous and succeeding palta do not sound musical. All gharanas have contributed their own style to the kayda, not just Delhi. Kaydas come in various jaati: Chatushra, Tisra, Khand, Mishra, etc. Kaydas have emphasis on certain key phrases in order to demonstrate a "punch" during presentation. For example, in the kayda dhadhatite dhadhatina, the punch is on "tite" because it is the only consonant phrase. Such punches occur in different ways and different places in each kayda. ​ ​ ​ Essential Introductory Teentaal Kaydas ​ dhadhatite dhadhatina tatatite dhadhadhina ​ dhadhaTRKT dhadhatina tataTRKT dhadhadhina ​ dhatitedha titedhadha titedhage tinakena tatiteta titedhadha titedhage dhinagena ​ dhagetite kdadhikite dhagenage tinakena taketite kdadhikite dhagenage dhinagena ​ dhatidhage nadhaTRKT dhatidhage tinakena tatitake nataTRKT dhatidhage dhinagena ​ ​ ​ ​ BACK TO TOP

ABOUT US Eshan Ankulkar CONTACT US While taking my Visharad Pratham exam in New Jersey, I experienced the difficulty of gathering English theoretical information about tabla and communicating it using English vocabulary. While my dad very well had a collection of Hindi and Marathi language textbooks, I found it relatively hard to read and understand tough grammar as I did not have as much experience reading advanced texts in such languages as some students in India. Realizing that this was a problem that potentially thousands of students across the world may face, I imagined an online website that provided tabla students around the globe with the opportunity to access information regarding tabla history and theory with ease. With support from my parents and permission from my guru, I have the honor of presenting this website to bright, eager students everywhere. Tabla Legacy provides students from all over an opportunity to review core tabla knowledge in English. I hope you find this content useful! Eshan's guruji, Shri. Suryaksha Deshpandeji, is an experienced tabla player, guru, and scholar. He is a disciple of Pt. Arvind Mulgaonkarji of the Farrukhabad Gharana lineage. He is the founder of Anubhooti School of Indian Classical Music based in New Jersey. We thank him for his blessings and positive support in building this informational website. Shri. Suryaksha Deshpande www.anubhootiusa.com Pt. Arvind Mulgaonkar Ut. Amir Hussain Khan

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

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

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

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

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