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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

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 gharanas such as Benares, Lucknow, and Farrukhabad . 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. Another reason why we find that gat-kaydas are less expandable is because the effect of the gat-kayda primarily relies on its contrast and juxtaposition of different phrases (the phrases found in a gat are usually very diverse), meaning that it is harder to make several balanced variations connecting to the main theme. A gat-kayda uses khula baaj bols and thus can't normally be played as fast as a regular kayda. ​ Definition of gat: Click Here Definition of kayda: Click Here ​ ​ Examples: ​ ​ BACK TO TOP

3. PraVESHIKA Purna The Praveshika Purna tabla exam incorporate a deeper level of understanding for various definitions and compositions. In addition to the practical portion, students will see a written exam for the first time to test their theoretical knowledge. The written exam will include bols/phrases, compositions, and notation systems. Sylllabus Theory 1. Knowledge of Vilambit, Madhya, and Drut Laya ​ 2. Bols/Phrases used in tabla Bols produced only on Daya Bols produced only on Baya Bols produced on both drums together (simultaneously) Bols produced using combination of both drums simultaneously or separately ​ ​ 3. Knowledge of playing techniques of the following bols TRKT, tekS kdaan, kda dha, KTTK, GDNG, DRDR, trake, kda dhaane, GDGN, etc ​ 4. Detailed knowledge of Pt. Bhatkhande and Pt. Paluskar notation systems. ​ 5. Ability to write tukdas in teentaal and jhaptaal in Pt. Bhatkhande system ​ 6. Definitions Kayda, Palta, Rela, Tihai, Mukhda, Mohra, Laggi, Uthaan, Chakradaar Notes 1. Knowledge of Vilambit, Madhya, and Drut Laya ​ Laya, or tempo, is an important element of music. It is the distance between two maatras. When the distance between two maatras increases, the speed of the composition slows down, and vice versa. In other words, laya represents the equal movement of time and the equal spacing between two maatras. Laya also means destruction: when a second maatra is produced, the time interval or the reign of the first maatra fades away. An artist may perform in various layas according to th e rules of Indian Classical Music. ​ There a three main types of layas: Vilambit (slower), Madhya (medium), and Drut (faster). Ati-Vilambit a nd Ati-Drut correspond to extra-slow and extra-fast, respectively. ​ Madhya Laya - Medium tempo, approximately equal to heart rate, 80 bpm Vilambit Laya - Slow tempo played at approximately ½ of the speed of the Madhya Laya, 40 bpm Drut Laya - Fast tempo played at approximately 2 times the speed of the Madhya Laya, 160 bpm There aren’t precise numbers for each laya, it is relative to the composition. ​ Performances in Indian Classical Music tend to develop from vilambit to drut laya, meaning that the speed increases periodically. Peshkaar is considered a vilambit laya composition, kaydas are played in madhya laya, and relas/chakradaar/gat are usually in drut laya. The importance of this sequence is that a slower speed at the beginning allows for more room to improvise, fill the maatras, and essentially warm up. As a performance continues, and the energy or mahol becomes more powerful, the laya increases all the way up to drut and ati-drut, where fixed compositions with heavy consonants (ex. tukdas) are played. ​ More Info ​ ​ 2. Bols/Phrases used in tabla ​ Bols produced only on Daya ta, tite, ti, na, tun, ne with ring finger, tak, tiretire, ... Bols produced only on Baya ge, ke, ghi, ... Bols produced on both drums together (simultaneously) dha, dhin, tin, ... Bols produced using combination of both drums simultaneously or separately dhage, tinakena, dhina, dhite, TRKT, DRDR, GDNG, GDGN, KTTK, trake, ... ​ ​ ​ 3. Knowledge of playing techniques of the following bols TRKT, tekSkdaan, kda dha, KTTK, GDNG, DRDR, trake, kda dhaane, GDGN, etc Be able to describe the hand movements (up and down or side to side) when playing each bol and the specific fingers and parts of fingers that are utilized when playing each bol. Be able to describe which exact part of the tabla or dagga are struck for each individual bol. ​ ​ 4. Detailed knowledge of Pt. Bhatkhande and Pt. Paluskar notation systems. ​ Click Here The exam may test your ability to write in both types of notation systems by asking you to write specific compositions in a particular notation system. (Example: Write tigun of rupak in Pt. Paluskar notation system). ​ 5. Ability to write tukdas in teentaal and jhaptaal in Pt. Bhatkhande system ​ Write various tukdas according to what has been taught to you. Examples of simple tukdas: ​ ​ 6. Definitions Kayda, Palta, Rela, Tihai, Mukhda, Mohra, Laggi, Uthaan, Chakradaar ​ 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 ​ 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. ​ 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. More Info ​ 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. More Info ​ Mukhda - A mukhda is a short and attractive composition of a few maatras used to land on the sum. A mukhda is longer than Mohra but shorter than Tukda. The length of a Mukhda is generally equal to or less than one Awartan. It uses stronger bols such as those found in a Paran. Some stalwarts say that a mukhda usually is the combination of bols composed in the last few maatras of an awartan in order to arrive at the sum. It may or may not have a tihai. ​ Mohra - A mohra is a small composition used to arrive at the sum gracefully. It is shorter in length than Mukhda and uses softer bols. It is usually a pick-up phrase or hook played spontaneously in accompaniment to vocal/instrumental music in order to transition onto the next awartan. It may or may not have a tihai. ​ 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. ​ 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. ​ 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. More Info ​ ​ 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

practice exams This page includes practice exams for the written portion of tabla curriculum. In this section, students will be given a specific amount of time depending on their level and will be asked to write essays for each question. The first question asked is often mandatory, but you will only need to complete 4 more questions out of the remaining questions, in order to complete a total of 5. If there are more than 5 questions included on the paper, the student may have a choice as to which to answer. For Visharad Pratham and Visharad Purna, the examinee will have two separate sessions to complete two different written exams. ​ ​ Praveshika Purna ​ Set 1 1. Write the notation of any two from the following. (Required) a) Roopak and jhaptaal as per Pt. Bhatkhande and Pt. Paluskar notation systems. b) Single and double of teentaal as per Pt. Bhatkhande and Pt. Paluskar notation systems. c) Sum to sum tukda in teentaal and jhaptaal. ​ 2a. Fill in the blanks. a) The sign for khaali as per Pt. Paluskar notation system is _____. b) There are _____ maatras in the second vibhaag of deepchandi. c) There are always _____ intervals in a tihai. d) When the distance between two maatras is less, the composition is in _____ laya. e) The sum of roopak is on the _____ beat. ​ 2b. Match the corresponding terms from Group A to Group B. Group A: kayda, deepchandi, dhumaali, theka, chautaal Group B: thumri, expandable composition, first composition of taal, pakhawaaj, bhajan ​ 3. Example, in detail, vilambit, madhya, and drut laya. ​ 4. Describe the taals ektaal and chautaal and distinguish between their characteristics. ​ 5. Explain the playing techniques of TRKT, GDNG, trake, KTTK, and DRDR. ​ 6. Define the following terms: rela, palta, uthaan, laggi, chakradaar. ​ 7. Describe Pt. Paluskar notation system while providing suitable examples. ​ ​ ​ ​ Additional randomized questions ​ After explaining all types of layas in detail, explain which laya each of the following compositions can be played in. Laggi, kayda, peshkaar, rela​ ​ Write a tukda in jhaptaal using the Pt. Bhatkhande notation system. Then write the tigun of jhaptaal in Pt. Paluskar notation system. ​ Define mukhda and mohra. Afterwards, compare and contrast kayda and rela. ​ Compose a tihai in roopak with 14 maatras to spare, a 1 maatra pause, and while using the bol "TRKT". First explain your mathematical calculations to understand how many maatras will exist within each of the 3 divisions of the tihai, then write the tihai down. ​ ​ Differentiate between the playing techniques of the bols "GDNG" and "GDGN". ​ ​ ​ ​ ​ Madhyama Pratham ​ Set 1 ​ 1. Write the notation of any three from the following: (Required) a) Tigun of ektaal as per Pt. Paluskar notation. b) Dumdaar tihai in jhaptaal. c) Dugun of dhamaar as per Pt. Paluskar notation. d) Keherwa laggi. e) Teentaal gat. ​ 2. Fulfill the following. a) What are the similarities and differences between teentaal and tilwada? b) Use Pt. Paluskar notation to write teentaal and tilwada. c) What are the ways in which teentaal and tilwada are used in accompaniment? ​ 3. What is khula baaj, and what is band baaj? Explain using suitable examples. Describe which gharanas in tabla are known for using khula baaj and band baaj respectively. ​ 4. Describe the following vocal styles, explaining how tabla accompaniment should be done for each. Khayal, taraana, thumri ​ 5. What theories exist regarding the evolution of tabla? Afterwards, briefly contrast tabla solo and accompaniment and then list the main skills involved in each respective category (solo and accompaniment). ​ 6. Define and elaborate on the following terms with suitable examples: Farmaishi chakradaar, peshkaar, paran ​ 7. Explain the process of tuning the tabla. Then, describe how tablas of different scales are used in different kinds of Indian Classical Music. ​ ​ ​ ​ Madhyama Purna ​ Set 1 ​ 1. Write the notation of any three from the following. (Required) a) Theka of rupak in kuwaad b) Theka of teentaal in biaad. c) Kamaali chakradaar in teentaal. d) Gat-kayda in teentaal. e) Tigun of Ektaal in Pt. Paluskar notation system. ​ 2. Briefly summarize the styles of dhrupad, dhamaar, ghazal, and tappa. Then, in a well written analysis, differentiate and contextualize dhrupad vs. khayal and the history surrounding both. ​ 3. Quickly summarize the accomplishments of Lucknow gharana. Afterwards, describe the baaj, thought process, and history of Farrukhabad gharana. ​ 4. Describe the history of tabla, as well as relevant theories of origin, in detail. ​ 5a. Define aamad, chaupalli, and kamaali chakradaar. ​ 5b. Explain the best practices of accompaniment towards bada khayal. ​ 6. How does taal provide a valid framework for Indian Classical Music? How does taal relate to tabla and tabla compositions? ​ 7. Analyze peshkaar, kayda, and rela in terms of the following components while contrasting between the compositions. Placement, expandability, ability to be improvised, and types of bols utilized. ​ ​ ​ ​ ​ Visharad Pratham (Theory I) ​ Set 1 ​ 1. Write the notation of any three from the following. (Required) a) Chakradaar in chautaal. b) Dumdaar tihai in roopak. c) Aad and biaad laya of dhamaar. d) Tukda in taal sawari. e) Aad and biaad laya of ektaal. ​ 2. Explain the importance and chronological order of peshkaar, kayda, rela, and gat in tabla solo-playing. ​ 3. Briefly give information about gharanas in tabla. Compare and Contrast the features and playing techniques of Delhi and Lucknow Gharanas. ​ 4. Write about various changes and developments that took place in the history of tabla from its origin to present time. ​ 5. Include detailed information about various riyaaz techniques to improve the balance between the daya and baya. ​ 6. Point out the contributions of the following artists in tabla (any 3). a) Ut. Salaari Khan b) Pt. Madhavrao Algutkar c) Ut. Inam Ali Khan d) Pt. Purshottamdas Pakhawaaji e) Ut. Karamtullah Khan ​ 7. Write 2 bedum and 2 dumdaar tihais in ada-chautaal and jhaptaal. ​ Example randomized questions ​ ​ Imagine some chakradaar in teentaal with 32 maatras to spare and a pause of 1 maatra in between the 3 divisions of the chakradaar. First, explain how many maatras will be in each of the 3 divisions/tihais of the chakradaar and show your math calculations. Then compose a chakradaar with those characteristics using the bol "DRDRKTTK" somewhere within the chakradaar, and write it using Pt. Bhatkhande notation system. ​ ​ ​ Visharad Pratham (Theory II) ​ Set 1 ​ 1. Write notation of any 3 within the following. (Required) a) Dumdaar tihai in ektaal b) Kamaali chakradaar in roopak c) Kuwaad and biaad laya of teentaal d) Farmaishi chakradaar in ektaal e) Tigun and chaugun of deepchandi as per Pt. Bhatkhande notation system ​ 2. Define taal and explain the relationship between taal and theka. Explain the importance of taal and theka in Indian Classical Music. ​ 3. Define the following terms with suitable examples (pick 5). gat-paran, mukhda, peshkaar, farmaishi chakradaar, mohra, chalan, aamad ​ 4. Explain the classification of Indian Classical instruments while providing suitable examples for each category. ​ 5. Define laya and layakari, then write in detail about the relationship between the two. ​ 6. Write the similarities and differences between the following sets of taals (any 3). dhamaar and ada-chautaal teentaal and tilwada tevra and pashto jhaptaal and sooltaal ​ 7. Explain rela, then write a tisra jati rela in jhaptaal along with 4 paltas and a tihai. Afterwards, write a tukda and bedum tihai in teentaal. ​ BACK TO TOP

gharana and baaj The Transmission of Knowledge ​ Gharana means a musical tradition or lineage. In the olden days, tabla students stored information with hard work and memorization. Gurus made sure that students were capable enough to perform by mandating that they learn for at least 12 years before allowing them to take part in a mehfil. Out of 100 students 99 would play in the same way, but 1 student would do something different: this student would learn from other gharanas and styles. A new style would emerge from his overall skills, and a new lineage could be formed (the gharana would normally be named from the hometown of this new tabla player). ​ Tabla players used to often learn tabla as their primary activity with no other main job. Gurus would try to make their students work even harder than they had. However, many teachers hid information from their students, so several amazing compositions that may have been composed are hypothetically missing today. If such masters passed away before the compositions were transmitted to the future generation, that bandish would be lost forever. Sometimes, even the gharana of teachers that didn't immediately transmit information faded away, along with their legacy. ​ Many students of different gharanas formed rivalries and they became accustomed with excessively criticizing one another. Another reason why many compositions remained in the dark is because the players of one gharana would not always teach their compositions to students of other gharanas. The only benefit of such a rivalry was that students would work extremely hard to combat tough competition, ultimately increasing their riyaaz. If they were defeated in a competition, they would feel disappointed and go back to extreme riyaaz, which created long term excellence. While gurus and gharanas that didn't orally spread knowledge faded away, those that reflected their teachings and thoughts expanded their future potential. ​ In ancient times, kings used to adore music and loved musicians/artists. They used to take care of musicians and provided shelter for them. This is why musicians were generally relaxed and content under the care of kings. They concentrated on their riyaaz and worked extremely hard primarily for sustaining their own talent or to create talented students to sustain their gharana in the future. However, this safety faded away after some time. Similarly, the competitiveness, hard work, and perseverance once found in students of the past no longer exists in many today. Today, external elements such as marketing or showing-off may have caused some orthodox traditional elements of gharanas to fade away. Additionally, in ancient times, people in famous families without merit sometimes misused their family name for their own pleasure. They attempted to fool others by claiming falsely that certain bandishes/components were theirs when they were not. Today, some students who receive some appreciation stop their riyaaz due to hubris and expect external results such as money relatively quickly. Even then, several students continue to display loyalty, adherence, and respect for their instrument and use newer technologies such as digital mediums to their advantage in progressing forward musically. The transmission of knowledge has, in a way, become easier as it is not difficult to upload, store, or view compositions via audio and video files which can be shared through personal platforms or public ones such as YouTube. ​ ​ The Beginnings of Gharana In 1738, Mughal Emperor Muhammad Shah (Nasir-ud-Din Muhammad Shah) employed several musicians in his court. Under Sadarang's influence, percussionists developed tabla (which is an unconfirmed theory). From this point, they used tabla for khayal-gayaki. We have different and conflicting information about tabla lineages and tabla players' birth/death dates, however, in general, we are confident that the gharana started approximately in the 18th century. Previously, tabla was mainly used for accompaniment, but tabla players further elaborated solo performances during the 18th century while also developing gharanas. During the arrival of the British, kings/nawabs looked towards luxury and failed to do much service for their communities. However, their care and employment of musicians for luxury remained the same. The creation of any new gharana starts with a renewed style of thinking, resulting in a review of the playing style, which causes some students of a particular generation to utilize the new style of playing. If the same new style is sustained and followed for at least 3 generations, it is said that a new gharana is created. ​ New gharanas began when students tried to do something different, either because of dissatisfaction or curiosity, both which are intrinsic to human nature. New gharanas could also form because of the geopolitical circumstances in a location, which may provide stimulus for new ways of thinking. There are two important distinctions which put gharanas apart. One of them is baaj, or the playing style. The second and more significant component is the thought system of the gharana. For example, although both Delhi and Ajrada are both of "band baaj," the main point that separated both schools of music, apart from their nikaas, was their thought system. Baaj ​ Baaj is a style of playing. Baaj derives from the hindi word "bajana" and reflects the playing style of a particular gharana. All gharanas fall under two main types of baaj: band baaj an khula baaj . ​ Band Baaj ​ The bols played on the chaati of the tabla and luv of the baaya are more prominent. The hand is generally not lifted while playing bols. Gharanas: Delhi and Ajrada . ​ The resonance of the sound produced by the baya and daya is limited in band baaj. While solo-playing in band baaj, the sound produced is closed, hence why playing at a fast speed is more effective to cross-cancel the absence of resonance. When one note is played, the resonance is limited, so the second bol should be played quickly to keep the same energy. This is the reason why there are many kaydas in this baaj. The striking of fingers is essential in this baaj. The purity of sound in both tabla and baya is very important. The pakhawaaj-styled maidan sunds (palm-striking) have not impacted this baaj. ​ Khula Baaj The luv or sur is very important. Khula baaj gharanas have a very close association with pakhawaaj. Gharanas: Lucknow , Farrukhabad , Benares , and Punjab . ​ This is the opposite of band baaj. The impact of pakhawaaj related sounds is seen in this baaj. Khula means open, and open sounds produce more resonance. Pakhawaaj's palm striking has had an impact on the fingering style. Speed is of secondary importance, and gat, gat-paran, chakradaar, etc are prominent in khula baaj. The increased resonance has caused a lesser importance on speed as compared to band baaj. ​ Delhi accepted the band baaj, introducing the delhi baaj. Lucknow gharana accepted the khula baaj, introducing the lucknow baaj, or poorab baaj. Ajrada became a disciple gharana of Delhi. Farrukhabad and Benares are disciple gharanas of the Lucknow gharana. Punjab is considered completely independent of the Delhi baaj, and accepted the khula baaj. ​ ​ Some stalwarts say that today, there is only one baaj running. Both baaj can be intermixed and combined according to the composition played. Players today may play compositions of different gharanas at once There is a need of baaj flexibility when playing material from different gharanas The teachings of multiple teachers and lineages have further diversified and ultimately intermixed baaj/nikaas. There are 6 main gharanas in tabla, each with their distinct characteristics, styles, thought system, and histories. ​ ​ Delhi Gharana ​ Founder: Ustad Siddhaar Khan Dhadi Band Baaj Also called do oongli ka baaj (two finger baaj) or chaati ka baaj because the bols are played using primarily the index and middle finger. Considered as the first or aadya gharana. Most restrictive gharana. There are more peshkaars, kaydas, and relas (expansionary compositions). There are less tukdas as they are played with open hand/palm. They have strict rules about how kaydas are expanded, and even the expansion of the peshkaar is similar to that of a kayda. Normally, tabla players receive liberty in peshkaar but in Delhi gharana it is played like a kayda, and kayda means "rule," implying that it is strict. The expansion has to be in the sequence of bols found in the mukh. Solo is normally played in madhya laya, and the first half of the solo or purvanga is dominating. Restriction to speed is inevitable when playing with two fingers. To overcome this challenge, Delhi players create impressive presentations and their biggest strength is their expansion process. They hardly play gat or gat-tukdas and even if they do play gats, they are played in chaati. Ustad Gamey Khan introduced taals other than teentaal to Delhi. Ustad Inam Ali Khan was a very innovative thinker of Delhi gharana. He introduced a rupak peshkaar which started from khaali. Dha is the "Sa" of tabla, so all compositions are dependent on dha and Delhi gharana respects the bol, paying close attention to the tonal quality. There are very few orthodox Delhi players in modern day because it is difficult to play tabla with several restrictions. ​ Important players such as Amir Khusro and Miyan Tansen used to live in Delhi. The Delhi king was very rich and employed the best artists in his court. During Mohammad Shah II's time, Delhi gharana was established. Khayal gayaki was given more prominence than dhrupad/dhamaar in this time, and tabla was used for accompanying khayal in place of pakhawaaj. The "meend" of the baya and quick striking of fingers complimented khayal singing. Delhi players tried to avoid the pakhawaaj style in order to promote a unique importance for tabla. While some claim that certain elements are exclusive for their gharana, as time progresses, elements from different schools intermix and cause syncretism. The last major khalifa (major heir) of the Delhi gharana Ut. Inam Ali Khan tried to maintain the purity of the Delhi baaj. Even today, the kaydas and compositions of Delhi are presented, but Ut. Inam Ali Khan's playing was authentic and embraced core Delhi principles. His style remained untampered. Delhi baaj, also called do oongli ka baaj or chaati ka baaj, places high importance on peshkaar, kayda, and rela. The two fingers used in Delhi baaj are the index and middle on both the daya and baya. Double TRKT (TRKT TRKT) can be played cleanly with such styles. Gat, tihai, chakradaar, kayda, rela, etc are played on the chaati. Delhi utilizes bols such as dhite, tite, kite, dha, ta, dhage, tage, dhagena, tagena, dhinagena, two-finger DRDR, etc. One important characteristic is that their kaydas are mostly in chatushra jati and mukhda-mala are played with odd-weightage. Their imagination of different rhythmic and mathematical styles is apparent. Delhi did not give as much importance to the baya as they could have; they played it without lifting the hand and while using two fingers, and didn't focus on meend. Their kaydas sound extremely prepared, but sounds may appear more delicate. Their speeds remain very fast. We remain unsure about Delhi tabla players' biographical dates because relevant records no longer exist. Ajrada Gharana ​ Founders: Miru Khan and Kallu Khan (initially students of Delhi) Band Baaj Students of Delhi gharana modified their style of playing when moving to Ajrada. To play at a faster tempo compared to the madhya laya that was popular in Delhi, Ajrada introduced the third finger in tabla playing, the ring finger. Delhi gharana used only two fingers, restricting the speed of playing. However, introducing additional fingers and making adjustments in the sequence of fingers while playing a composition allowed for faster speeds. They were also able to play more types of bols, such as dhinegene. Ajrada is known for several creative modifications in playing techniques and presentation styles. They composed numerous kaydas in tisra jati, making this jati a specialty of Ajrada. They used a unique baya style to play kaydas in tisra jati, with few consonants and more baya, and no harsh syllables. Famous players include Ustad Habibuddin Khan Saheb, the finest tabla player at that time and a core reason for the popularity and rise of Ajrada. ​ Ajrada is a town in Merath district, Uttar Pradesh. Ajrada is a student gharana of Delhi. There is not much of a difference between Delhi and Ajrada Gharana. One specialty of Delhi was an array of chatushra jati kaydas. Ajrada followed this specialty, but also showed the importance of their thinking style by forming tisra jati kaydas. Tisra jati kaydas were quite unique for the time. They paid attention to how to increase the tabla's sweetness and sonority. Tisra jati kaydas' bols showed this sweetness. Ajrada also gave strong importance to the baya and worked on meend. For example, the space or pause after dha or dhin in certain compositions can be used in combination with the baya's meend. Gheeskam (sliding movement of wrist on baya) was also done at times, but was not overused and wasn't done unnecessarily. Ajrada players did not change the baya's position while doing this. They still kept the maidan of the baya at the wrist and the shahi part towards the audience (unlike some Benares players who place baya the opposite way to make gheeskam more comfortable). In Ajrada gharana's kaydas, phrases with gheeskam (such as dhiteka dhiteka) sound aesthetic. Furthermore, Ajrada gharana tabla later gained the impression of Lucknow (poorab baaj) and added gat-tode. They put characteristics of gat-tode in their kaydas in order to popularize their tabla. Ajrada representative Ut. Habibuddin Khan's tabla sounds true to such subtleties because he learned under Farrukhabad gharana Ut. Muneer Khan and incorporated characteristics of gat-tode in his playing as well. Ajrada players took bol nikaas (playing style of different bols) from Delhi gharana and changed the nikaas as required to make the sounds more beautiful. For example, Delhi gharana Ut. Nathu Khan showed two different nikaas for the kayda (dhatite dhite dhagena tinekena dhadhagena dhinegena dhatite dhite dhagena tinekena + khaali). The styles of kaydas changed in Ajrada as compared to Delhi in terms of nikaas. For example, Ajrada could utilize the "ne" ring finger bol as in the phrase "dhinedhinagena" in replacement of using only two fingers. In Delhi, we may play bols na and "ne" with the index finger on kinaar, but there is not much sweetness because of the force. However, the ne played by the ring finger can be more melodious. One Ajrada specialty is that playing a kayda in a higher laya doesn't get your fingers stuck. On the contrary, without the ring finger, it is possible that one's fingers can get stuck playing certain kaydas in drut speed. In Ajrada, there are many non-traditional kaydas as well. Another difference seen in Ajrada gharana is that the khaali is mixed into the kayda itself (it is harder to distinctly and purely separate the mukh and khaali). That is, there are instances of kaydas in which even the khaali starts with "dhin" as opposed to "tin". The interesting connection is that even the teentaal theka khaali starts from "dha". Additionally, they included some heavy consonant usage in khaali so that playing the khaali was not as boring and that during the solo performance, the audience would remain engaged for a longer time. They paid particular attention to what pleased the audience. In conclusion, Ajrada was a continuation of Delhi gharana and tried to make compositions more beautiful by changing the playing style and by incorporating a unique thought system. ​ Ut. Habibuddin khan Lucknow Gharana ​ Founder: Ustad Modu Khan and Ustad Bakshu Khan (students of Delhi gharana) Khula baaj When Ut. Modu Khan and Ut. Bakshu Khan moved to Lucknow, a city dominated by kathak dancing, they created a unique style of tabla playing adopted from kathak and pakhawaaj compositions. This style of playing is termed as the "khula baaj" or "hatheli ka baaj," or "thapeeya ka baaj." As the bols like "ta thunga / takite thunga" are not typical tabla bols, they improvised a lot to adopt these kathak bols. Lucknow played more tukdas and gats. Very few kaydas are played in this gharana and those too have influence of the language of gat. For example, the bol "ghidan" is not used in kayda, but Lucknow gharana kaydas can be composed using the bol. Paran was played and was adopted from pakhawaaj. Paran was a long composition. They took out small chunks and called them paran ka tukda. Eventually, the "paran ka" faded away and the small chunks that remained were called tukdas. Similarly, gat-tukdas were tukdas that utilized the language of a gat. Lucknow created various compositions different from Delhi gharana. Sometimes, Lucknow doesn't even play peshkaar. For example, famous Lucknow players today like Pt. Swapan Choudhary do not start their solos with peshkaar, but instead with kissm. Pre-composed bandishes are dominant in Lucknow gharana, and there are several gat-kaydas as well. ​ Lucknow was established within 50 years of Delhi. The nawab of Lucknow gave importance to kathak and employed several kathak dancers. They used to utilize pakhawaaj for accompaniment, but kathak's "tatkaar" had a different laya. Because accompaniment sounded better on the tabla, it replaced the pakhawaaj. While pakhawaaj's sounds were more prominent and loud, Lucknow players were able to make sure that delicate tabla sounds did not hamper the kathak experience. They used luv instead of chaati on the tabla and maidan instead of luv on the baya for a "khula" experience, influenced from the pakhawaaj naad. Tabla's role in dance accompaniment increased due to its scope for speed and players' finger positions. In Lucknow baaj, they use a "thaap" by closing in 4 fingers and banging it on the instrument. In tabla solo, the banging "thaap" generally decreased as time progressed. Because of these changes, Lucknow music became favorable and musical. Striking on the luv of the tabla is prolonged compared to striking on the chaatii, but the sound on the luv can be sweeter. Because luv sound effects don't always complement kaydas, Lucknow didn't produce as many kaydas as Delhi (luv striking also means lower speed due to the resonance and prolonged duration of bols). Core Lucknow bols include dhitehdhite, dhagetite, kdadhatite, dhagedinganagetite, gadhete, dhetedhete, kata kata, KTTKdhetedhete, etc. Gat, gat-tode, chakradaar, were prominent and mostly composed in chatushra jati playable in madhya laya. The sweetness of sound production was expressed. Lucknow gharana Khalifa Ut. Wajid Hussain Khan, at age 76, showed tayaari and commendable daya-baya balance in his recordings even at such an age. His specialties included rela, gat, gat-paran, tihai, and chakradaar. His son Afaq Khan also kept the Lucknow parampara/tradition alive through his tabla presentations. Farrukhabad Gharana ​ Founder: Ustad Haji Vilayat Ali Khan Khula baaj Ut. Haji Vilayat Ali Khan went to haj 7 times, earning the title Haji. He has created some of the most beautiful gats of all time; it is believed that if you play even one gat composed by him, your tabla solo is destined to be successful and your performance will exhibit energy and musicality. His student Ustad Muneer Khan was a disciple of 24 total gurus. He was an excellent performer and a very knowledgeable guru who passed on his wealth of knowledge to succeeding generations of disciples. Some of his disciples included Ustad Thirakhwa Khan, Ustad Amir Hussain Khan, etc. Ut. Amir Hussain Khan composed numerous beautiful bandishes. There is a very thin line of distinction between Farrukhabad Gharana and Lucknow Gharana. The phrase "DRDRKTTK takite dha" is a stamp of Farrukhabad, found in many gats and gat-tukdas. Chakradaars, farmaishi chakradaars, gats, gat-tukdas are essential to Farrukhabad. Ut. Thirakhwa Khan popularized the peshkaar "dhinSkdadhinta" which was a unique addition. It was a different peshkaar compared to Delhi, which did not utilize bols like "tek ghidan" as it is the language of tukda. Ut. Thirakhwa Khan included such bols in peshkaar and the audience appreciated this unique style. It was one of his popular contributions to the world of tabla, and many tabla players today also follow this style. ​ Farrukhabad Gharana was created approximately in the same timeframe as Ajrada. Farrukhabad had a lot of influence from Lucknow/Poorab baaj, and gat-tode are often played in pakhawaaj style. Peshkaar, kayda, and rela playing was given importance and thought out properly. In Lucknow style, peshkaar was not initially included and relas were not always played. Farrukhabad took much effort on the sounds of the daya and baya. They utilized dhatrakedhikite, kat tite tite, ketrakedhiikite, dhidanagedhine, takedhintam didhindanage, tagetite, gadin, DRDRKTTK takite dha, kdaSne, dhagenadhatrake, etc in their gat-tode. In their relas, they utilized bols such as dhinetakdhinetak, taktaktak, tinekena, etc. Gat, gat-paran, and gat-todi were composed skillfully with laya in mind. Although lucknow compositions came into this gharana in a traditional way, they also put their own skills and thoughts to compositions and became successful in tabla playing. In Farrukhabad, gat, gat-paran, etc were composed with some easy to understand bols which could be played with ease. Although some phrases are pronounced easily but are tough to play because the sequence of the bols is complex, this was not usually the case with Farrukhabad. They utilized luv for gat-tode, four fingers to play "tek," and the whole palm to play "DRDR". Their kaydas included bols such as dhagenadhatrake, kdadhikite, kdadhakite, dhinakedhinedhinegene, takadhatitakita, etc and were played on the luv. They mostly used chatushra jati and occasionally tisra jati. Their teentaal kaydas can sometimes be very long (32 maatras). In Delhi gharana, the sequence of presenting kaydas is usally mukh, dohra, bala, palta, and tihai. However, Farrukhabad gave importance to mukh, laut-palat, and tihai. They have given significance to spontaneous improvisation for opening kaydas. In this gharana, players were not only good artists but also excellent composers. Farrukhabad gharana founder Ut. Haji Vilayat Ali Khan was an excellent player, teacher, and composer at the same time. He went to haj seven times for his religion and prayed to God that his music should continuously progress and asked blessings for tabla. Farrukhabad gharana Ut. Amir Hussain Khan and Ut. Ahmed Jaan Thirakhwa have explained us his legacy. These two Ustads have said that in your performance, if one plays at least one composition of Ut. Haji Vilayat Ali Khan, your performance becomes even more beautiful and captures the audience's mind. Farrukhabad gharana hasn't only paid attention to gat, gat-paran, and gat-tode. The players of this gharana have also worked significantly hard on kaydas and have played straight as well as odd weightage kaydas. They have used kinaar, luv, maidan, and shahi as needed and have incorporated meend, ghumak, and gheeskam as desired to make kaydas even more playful. Ut. ahmed jan thirakwa Benares Gharana ​ Founder: Pandit Ram Sahai Mishra Khula baaj Pt. Ram Sahai Mishra is not blood related to Delhi gharana. This gharana is of devoted, disciplined Hindus. They have created a powerful and unique playing style and stick to their tradition. Benares doesn't begin with peshkaar, but instead with uthaan. Often times, they will play tin darje ki uthaan with single and then tisra jati. They also play more on luv than on the chaati. The wadis used on Benares tabla and daggas are strings. The maidan of the baya faces the audience, the shahi towards the player. This provides an easier experience for various expressions on the baya. Such expressions can be useful for kaydas and relas. Originally, Benares players used to sit in vajrasan while playing tabla. Their playing is very rigorous and robust, and vajrasan helps them to get the "punch" while playing. Na din din na is a Benares specialty; they call it "khadi oongli ka na din din na" which means one finger na din din na. Benares gharana deals with a very unique composition called fard or ekkad meaning unique (of which you can't make a joda or pair/response). Normally any composition can have a joda or pair. But in Benares, fard is so unique and ends so abruptly that it is hard to make a joda, and so such a composition is called ekkad. Example: aamad can be anticipated as it shows all the roads that can be travelled in order to arrive at the sum. However, fard suddenly and abruptly arrives on the sum and sometimes doesn't even have a sense of completeness. Benares is popular for such compositions, and uses excellent language. They have the spirit of the damru instrument in Hinduism as they are devout worshippers of Lord Shiva. Pt. Kishan Maharaj ji, Pt. Samta Prasad ji, and Pt. Anokhelal Mishra are some famous tabla players from Benares. ​ Benares gharana accepted the khula baaj. While sustaining their own predominant khula style, they paid attention to Delhi and Ajrada in order to incorporate their specialties. Benares gharana players used chhati for peshkaar, kayda, rela, and lightly incorporated luv for gat, gat-paran, and chakradaar in order for a balanced combo. Lucknow and Benares gharana were used to a royal livelihood, so Benares players adopted a royal playing style. Their presentation of compositions and their expressions, level of riyaaz, and willpower attracts audiences easily. Benares players' level of riyaaz, endurance, patience in the process, etc are components that students can learn and pick up. There is a dominance of speed in this gharana. For this reason, Benares players used a "tip tabla" with a small pudi. They also require a baya with a higher sound. The resonance of the tabla and baya in Benares gharana is comparatively lower, and therefore their tabla sounds very good even at very high speeds. It is a misunderstanding that Benares is made only for dance accompaniment. Benares tabla players' compositions are so beautiful and unique that we don't see the impact of dance styles on such compositions. However, it is completely true that Benares players are experts at accompanying classical dance. The compositions found in Benares are mainly from Delhi, but some original compositions are unique to Benares and can be very straightforward. They are often made to complement fast speeds. Benares players play a peshkaar based on the idea of laggi. There is an impression of Lucknow peshkaar on Benares peshkaar. Many Benares gat-parans are based on chhand, and they complement dance style very well. The vision of tabla in Benares players is very beautiful. They are particular about how good their tabla looks. In Benares music, tabla and pakhawaaj are both respected a lot. Many Benares players are Hindus, and believe that many of these music instruments are created by Shiva, and worship such instruments like God. Their treatment of tabla is very high. If a guru has taught any composition, they try to play the composition exactly without alterations as a form of trust and respect. Another important characteristic of Benares tabla is how they keep their daya and baya, and how they sit. Many sit in virasana (legs folded behind) while playing. Daya and baya pudi leans towards the audience; the maidan of the baya faces the player, while the open area is faced to the audience. Because of this, the meend generated by the baya is comparatively less, and they generally require less meend while playing at very fast speeds. They make unique sounds by brushing their hands and sliding their palm. They keep the balance between daya and baya very uniform and give importance to the speed and the sound created by playing the daya and baya. Founder Pt. Ram Sahai Mishra was a shishya of Ut. Modu Khan from Lucknow gharana. Bols like tektektek played on chaati, kdadhit-ta, kdadhaan, dhi-dhaan, dhadhaSne, DRDRKTTKtinaKTTK, two finger DRDR, etc are prominent in their compositions. One segment of Benares players' expertise is the extremely difficult one finger theka of ati-drut teentaal . ​ Pt. kishan maharaj Punjab Gharana Founder: Lala Bhawanidas Pakhawaaji Khula baaj This gharana has changed a few basics of the Delhi gharana. They played kayda/rela or even peshkaar with the same robust attitude as gat-tukdas are played with. Their kayda sound like "dum-khum" meaning "power-strength". The language used is very beautiful and pronunciations are often different because of the influence of the Punjabi language. Example: "dha na" is pronounced as "dha na/णा". Ut. Alla Rakha Khan changed this gharana's traditions in many ways. He introduced the 1.5 maatra dum called Abbaji's dum. If the mukh of some kaydas in Punjab gharana are split into phrases, all the phrases will be of odd numbers. dhatitdhagenatitdha ghinadhagenatitdha dhadhadhetit dhagenatinakena​ 7,9,7,9 is not a typical teentaal division They have created a variety of complicated tihais and bedum tihais. Many of such tihais include complicated pauses such as the 1 and 1/4 maatra dum or the 1 and 3/4 maatra dum. Their tukdas, chakradaars, and parans have been influenced from the Punjabi language. In peshkaar, Punjab often uses phrases of 2 and 1/4 maatra (example: dhassda dhastins na). Ustad All Rakha Khan said that peshkaar is like "pej katna," meaning cutting off the rope of a kite. Famous Punjab gharana include Ut. Zakir Hussain and Ut. Abdul Sattar Khan. ​ Punjab gharana utilized khula baaj just like Lucknow and Farrukhabad. It is said that the founder of Punjab gharana had a father who was a pakhawaaj player. The pakhawaaj player had a son when he was a bit old, so he couldn’t teach him all skills of pakhawaaj. When he was on the deathbed, he asked his disciples to teach pakhawaaj skills to his son. When the son grew up, he felt wrong to learn from the students/disciples of his father. He thought he was the descendent of his father, and wanted respect from the disciples instead. However, the disciples refused to give the respect of a guru to the son. He became angry, and used his little skills about pakhawaaj and transformed them into tabla playing. He used talent, hard work, and intelligence, and formed compositions within tabla, making himself a successful tabla player. When he became successful in tabla, those two disciples started giving him respect and importance as that of a khalifa/guru. Because of this context, Punjab tabla has a lot of impact from pakhawaaj playing. In Punjab gharana, there are longer gati, gat-parani, tode, and relas. Kayda and peshkaar weren’t really there. However, in recent times, because Punjab didn’t have these compositions, Ut. Alla Rakha Khan implemented his own peshkaars and kaydas. Therefore, these are entirely his own, and Punjab gharana did not have them when it was created. Another importance of this gharana is deepchandi-weighted Punjabi chaals/chaale/beats. Mishra jati compositions, gat, etc are unique. Pakhawaaj style open beats were used in Punjab tabla, hence the loud and powerful ambience. Their loudness and speeds have impressed audiences. ​ ​ Ut. Shaukat Hussain Khan, Ut. Alla Rakha, Sukhwinder Singh "Pinky JI" BACK TO TOP

fundamentals essential concepts of tabla

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

peshkaar A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. ​ Peshkaar means "pesh karna," or to present. It utilizes the essence of naad from both the daya and baya in order to experience the taal from different angles using different bols and patterns.The Peshkaar presents an opportunity for the tabla player to take a lot of liberty to improvise within the taal. The peshkaar may show the vibhaag/divisions, khaali, and bhaari components of the taal. In general, the chronological order of tabla has been adapted from that of vocal singing. The performance laya starts from vilambit all the way to ati-drut. When considering a human lifestyle, the body needs a warm-up phase or interval in order to adapt to changes (such as weather, time changes, different behavioral patterns, etc). Following this need, peshkaar serves as a “warm-up” for the workout. Tabla in itself is a both psychologically and physically intensive instrument. This “warm-up” is a good exercise to prepare for the powerful kaydas and relas that may be played later. Peshkaar is a culmination point of intelligence, deep thinking, deep theoretical study, riyaaz, bol clarity, and aesthetic all at once, and thus is a valid point of introduction for the solo. Ut. Alla Rakha Khan said that peshkaar is like "pej katna," or cutting the rope of a kite. Not all the rules that apply to kayda are applicable to peshkaar. For example, almost all bols in tabla can be played within Peshkaar. However, "tite" is usually not played. Laya, jati, points of emphasis (wazan), khali/bhari, etc are all kinds of aspects that can be implemented in peshkaar. Although the composition may be similar to kayda, peshkaar has more room for spontaneous improvisation. Unlike a kayda, the distance between maatras has a very big importance in peshkaar. Peshkaar should be learned under the guidance of a capable guru. It requires a lot of personal thought, experience, and maturity. Some stalwarts are able to judge a tabla player’s candidacy simply by his peshkaar. A traditional peshkaar should not be memorized, but rather spontaneously “thought of” within the constraints of music and with an organizational, sensible pattern. ​ A peshkaar mukh in the Delhi Gharana usually starts with dha, while a popular theme in the Farukhabad Gharana starts with “dhinSkdadhina” and has gained prestige due to the works of Ut. Ahmed Jaan Thirakwa. In Delhi Gharana peshkaar, whenever a design is produced in the peshkaar and a different laya is explored (such as 1.25 or 1.5), even then, the composition will ultimately end in the original laya. It will usually end in equi-tempo even when other patterns were explored. In the Farrukhabad Gharana peshkaar, bols such as "dhinSkda," "dhatit," "ghidan," "trake," "KTTK," and "tinetinakena" can be found. They utilize various kaydas in the peshkar in order to enhance the entertainment value. ​ ​ ​ BACK TO TOP

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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. ​ ​ ​ 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 tehai and no strong “dha” needed to land on sum). All gharanas of the khula baaj have composed several gats, and Delhi has composed fewers 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 tehai associated with a gat to give any dramatic conclusion at the end. ​ ​ ​ There are multiple characteristics found in gats A gat is completed before the sum and therefore may end with a weak bol, not necessarily "dha" Various elements of poems can appear in gats as gats display the artistic maturity and musical understanding of the composer Specific characteristics of various gats have created distinctive forms and different types of gats While khula baaj Gharanas have created several gats, Delhi has composed fewer gats Many gats are played in the single laya (baraabar) and double laya ​ Pandit Arvind Mulgaonkarji reveals 16 types of gats in his book "Tabla". Here are some of them. ​ 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….” ​ Examples: ​ Sab-Akaal Gat Choudhari Gat 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