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

bibliography Sources used in the making of Tabla Legacy ​ Tabla, Pt. Arvind Mulgaonkar, published by Popular Prakashan, Mumbai, 1999. ​ National Centre for the Performing Arts Tabla Seminar , Mumbai, 1998. ​ Tabla Vadan - Kala Aur Shastra , Pt. Sudhir Mainkar, published by ABGM Mandal, Miraj, 2000. ​ Musical Drums with Harmonic Overtones , Dr. C V Raman, published by Nature (London), Calcutta, 1920. ​ Complete Tabla , Amod Dandage ​ ​ ​ ​ ​ ​ ​ I thank my parents in helping to translate Hindi and Marathi texts into English and allowing me to understand core concepts. I thank my Guru and classmates for their optimism and support in the development process. I thank the authors of the sources above for their eye-opening knowledge revealed to the world in the forms of books and seminars. I thank God for the opportunity to publish this website. ​

WHAT IS TABLA? basic overview of the instrument Tabla is a pair of 2 drums originating from India and is played with the hands. It is an essential percussion instrument within Indian Classical Music, and is performed in the form of solos as well as accompaniment with other instruments, singing, and dance. While Indian Classical Music is an art form which has existed for thousands of years, tabla is a relatively new instrument with origins likely being a few hundred years ago. Tabla is an instrument that requires extensive practice and knowledge. As Indian Classical Music spotlights improvisation and creativity in the observation of musical rules, tabla players use several components of imagination, mathematical patterns, and logical variations in order to compose astonishing percussion. As a result of various schools and lineages of thought within the world of tabla, different styles have contributed towards both a diversification and more recently unification of tabla as different techniques have merged into one common practice today. ​ Tabla follows the idea of taal, or a cycle of a set number of beats. Within repeating cycles of a taal in various designated speeds can exist different compositions, both fixed ones and ones that can be expanded through the help of various variations. With a content-filled dictionary of vocabulary, sharp consonants as well as resonating vowels are used to make bigger arrangements. Tabla's legacy Descriptive knowledge of percussion instruments was available from the Vedic times. This information and conceptual framework was used for the research and development of tabla. Bols of past percussion instruments such as the pakhawaaj were used to develop new tabla bols, which created new thekas and compositions. The reasons for the establishment of tabla included factors such as sound quality and flexibility of application. Today, learning tabla is a more accessible process compared to other instruments because of the diverse body of students and teachers, making it a very expansive field of knowledge. BACK TO TOP

tukda A tukda is a fixed composition primarily with forceful bols and heavy consonants. A tukda contains a tihai within it and usually is 2-3 awartans in length. Some stalwarts argue that a tukda, or "piece," is a portion of a longer composition which, even if played independently, appears meaningful. ​ The structure of a tukda is a small portion followed by a tihai. Sometimes, this small portion or opening played before the tihai is also called "mukhda," which means "face". A tukda, which in literal terms means "piece," isn't as long as compositions such as parans. It is believed that they were formed first in Lucknow gharana, followed by Farrukhabad and Benares. Most stalwarts agree that it evolved from pakhawaaj style parans and was influenced by kathak. ​ Tukdas are short and are not symmetrical like kaydas or relas. Khula baaj bols are utilized for a profound effect. Some tukdas don't contain a tihai. On the other hand, some tukdas contain a phrase repeated 3 times without a pause, or without a "dha". Phrases such as "dhagetite," "DRDRKTTK," "dhaSTRKTTK," "KTTK," "kdadha," "taraSna," "GDGN," and "nagetite" can be included in tukdas. Tabla players will often perform padhant (recitation) before playing a tukda. 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

mukhda A mukhda is a short and attractive composition of a few maatras used to land on the sum. A mukhda is longer than Mohra but shorter than Tukda. The length of a Mukhda is generally equal to or less than one Awartan. It uses stronger bols such as those found in a Paran. Some stalwarts say that a mukhda usually is the combination of bols composed in the last few maatras of an awartan in order to arrive at the sum. It may or may not have a tihai. ​ BACK TO TOP

TUNING AND VARIOUS SCALES Tuning the Tabla Tuning is a difficult skill and requires precise identification of swars with a good listening ability. The swar is provided continuously on an instrument such as the harmonium. Today, various apps and nagmas are also used to provide the swar. Using this swar as the guideline, the tabla player adjusts the tabla to match the intended swar. ​ The tabla ideally should not be placed on the ring while tuning as it requires frequent rotation The gatthas must be adjusted to reach the intended sur or scale. Hammering downwards creates pressure and tension, raising the sur. Lifting upwards releases tension which causes the sur to decrease. Tune the ghars, or houses on the gajra, two at a time in accordance to a sequence in order to reach the intended swar. This helps to increase or lower the tension around the pudi and helps to tune the tabla closest to the intended swar. There are 16 ghars on the gajra. Label them 1 through 16. The sequence of tuning the ghars is to start with 1, then the one directly opposite to that (9), then rotate the tabla 5 ghars, (14), then the one directly opposite to that (6), and so on. This, way we not only tune all ghars but also do it in pairs of opposite ghars, which helps maintain the balance efficiently.​ 1, 9, 14, 6, 11, 3, 8, 16, 5, 13, 2, 10, 15, 7, 12, 4 Afterwards, with the index finger, play a strong “na” on the chaati to ensure that it is in tune with the intended swar, rotating the tabla, and repeating after every ghar. If necessary, lightly hammer the gatthe to increase or decrease tension in bigger intervals. If the tabla’s swar sounds higher, play a “thap” with the bottom of the palm to decrease the swar slightly. Bigger interval changes occur on the gatthe, while fine tuning is done on the gajra. At the end, play an open na on the tabla to confirm that the tabla is tuned to the required swar, making sure there is minimal distortion in the sound. If more adjustment is still required gently bump the tabla on the floor, this helps the wadis to slightly loosen from the gajra in order to adjust the tabla. Various Scales C Safed 1 White 1 D safed 2 White 2 E safed 3 White 3 F# kali 3 Black 3 A♭ kali 4 Black 4 B♭ kali 5 Black 5 C# Kali 1 Black 1 D# kali 2 Black 2 F safed 4 White 4 G safed 5 White 5 A safed 6 White 6 B Safed 7 White 7 Move the cursor over various scales to learn the Indian Classical Music equivalent (desktop only). Tabla players, instrumentalists, and vocal singers have preferred scales that they perform in. The make of the tabla and whether its pudi is small or big greatly reflects the range of the scale to which it could be tuned to. ​ Below is a slideshow which gives different diameters of tabla along with the associated surs and common uses in Indian Classical Music. Diameter: 5" Sur: F, F# "Tip tabla" used for light music, violin, flute, and sometimes harmonium accompaniment. BACK TO TOP

kissm Variations in a theka played without disturbing the theme or flow of the theka are called kissm. While accompanying, a tabla player may play various kissm in order to musically and appropriately match the main performing artist's composition. ​ Some players (such as Pt. Swapan Chaudhari) start their performance with kissm instead of peshkaar. In his teentaal accompaniment, Shri. Satyajit Talwalkar plays variations of teentaal theka and some mukhdas/phrases to accompany the singer. BACK TO TOP

aamad Aamad means "arrival". In general, a composition which gives a sense or intuition of arriving on the sum is aamad. In dance music, the introduction of rhythmic bols spoken at the beginning of a Kathak performance is called Aamad. It is an entry movement that traces itself back to the Mughal era. It is known to evoke a sense of grandeur and represents taking command of the area. In other words, it is a stylized way of taking an entry during a Kathak performance. Aamad corresponds to “alaap” or “peshkaar” in Indian music. The structure of an aamad is a body followed by a tihai. The term “aamad” was utilized after the Mughal era, before which presentations would start with an uthaan. BACK TO TOP

Gat-paran A gat-paran is a composition with open, prominent bols. A gat-paran is a paran that uses the language of a gat. ​ ​ ​ Definition of gat: Click Here Definition of paran: Click Here ​ ​ ​ ​ BACK TO TOP

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

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