Search Results

Notation systems Throughout time, the development of notation systems has allowed musical compositions to be expressed in writing according to their grammar. This process has allowed people to store compositions and communicate them so that there was no content loss even after an extended amount of time. There are two main notations utilized while writing down tabla compositions: the Pt. Bhatkhande notation system (created by Pt. Vishnu Narayan Bhatkhande) and Pt. Paluskar notation system (created by Pt. Vishnu Digambar Paluskar). ​ ​ Pt. Bhatkhande Notation System ​ Sum - an "x" is used below the syllable. Taali - the number order of the taali is written below the syllable. For example, if a given syllable occurs at the 3rd taali of the taal, put a 3 there. Khaali - an "o" is used below the syllable. Vibhaag - The symbol " | " is used after every vibhaag -If there is 1 syllable in a given maatra, such as "dha," then do not put any symbol below the maatra. ​ -If there are multiple syllables in a given maatra, such as "dhatitedha," then put an upward curve below the maatra. ​ -A pause is noted with an "S". ​ ​ Examples in Pt. Bhatkhande notation system: ​ Pt. Paluskar Notation System ​ Sum - a "1" is used below the syllable. Taali - the number of the maatra is written below the syllable. For example, if the taali occurs at the 5th maatra, then put a 5 there. Khaali - a "+" is used below the syllable. Vibhaag - The symbol " | " is used after the completion of the entire taal. It is not used after each vibhaag. ​ -A pause is noted with an "S". ​ -If there is 1 syllable in a given maatra, such as "dha," then put a horizontal line " _____ " below the maatra. ​ -If there are 2 syllables in a given maatra, such as "dhage," then put 2 tiny circles " ○ " below the maatra, 1 for each syllable. ​ -If there are 3 syllables in a given maatra, such as "takite," then put 3 squiggly lines " ∽ " below the maatra, 1 for each syllable. ​ -If there are 4 syllables in a given maatra, such as "tinakena," then put 4 upward curves " ⌣ " below the maatra, 1 for each syllable. ​ -If there are 6 syllables in a given maatra, such as "dhagetinakena," then put 6 double squiggly lines " ≈ " below the maatra, 1 for each syllable. ​ -If there are 8 syllables in a given maatra, such as "dhatidhagetinakena," then put 8 double upward curves " ⋓ " (a little better looking than that lol) below the maatra, 1 for each syllable. ​ -A pause is noted with an "S". ​ Examples: ​ ​ Comparison between both notation systems ​ Pt. Bhatkhande notation system provides us information about the position of the taali, khaali, and vibhaag of the taal. However, if there are multiple syllables in a maatras, we always put an upward curve below it, and we can't understand the jati of the maatra or how the maatra was divided. For example, there is no way to distinguish between writing a tisra jati 1/6 maatra bol and a chatushra jati 1/8 maatra bol. We are also unable to easily deduce which maatra a particular taali falls on because the number order of the taali is written, not the number of the maatra on which the taali falls on. ​ Pt. Paluskar notation system also provides us information about the position of the taali and khaali, but does not indicate the vibhaag of the taal. However, we can more accurately communciate the value of multiple syllables within a maatra as per its intricate indication system. Still, there is no provision for the 1/5th or 1/7th maatra. ​ Pt. Bhatkhande notation system is the system of choice for long compositions because it is faster to write in and we don't have to worry about indicating the maatra-value of each individual syllable like Pt. Paluskar notation system. All types of jatis may be expressed in Pt. Bhatkhande notation system. On the other hand, Pt. Paluskar notation system is more useful for communicating the jati of various phrases and smaller concepts such as tigun and chaugun of various taals like teentaal and ektaal. However, it may take more time. Both systems have their advantages and disadvantages. ​ ​ *For exams: While writing compositions, try to include the maatra count, which maatras the taali occurs on, which maatras the khaali occurs on, and the vibhaag of the taal. This helps to organize the notation and symbols in the actual awartan. ​ ​ Examples in both notation systems: ​ BACK TO TOP

Complete explanations Prarambhik to Visharad Pratham Point by point explanations for all segments of the "theory" portion of tabla exams. Notes have been compiled from various sources of tabla literature, including Pt. Arvind Mulgoankarji's "Tabla" Book, online archives of the National Centre for the Performing Arts Tabla Seminar, and more. All respective gurus, stalwarts, and authors are thanked for their musical gifts and blessings. Visit Bibliography . Some explanations may contain links to specific pages regarding the topic, and the specific page may contain extra details or additional information. Because exams from multiple levels may link to the same page, the student should be able to memorize and explain the content to the extent of their current examination level, whether it is introductory, intermediate, or advanced.

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

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

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.

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

Definitions Brief definitions for common terms used in the world of tabla. Explore Types of Compositions and various categories in Fundamentals for more complete descriptions. Aamad - Aamad means "arrival". In general, a composition which gives a sense or intuition of arriving on the sum is aamad. In dance music, the introduction of rhythmic bols presented at the beginning of a Kathak performance is called Aamad. ​ Alaap - A slow, improvised section in the beginning which introduces the raag. ​ Ati-Drut/Anu-Drut - Extremely fast tempo. ​ Ati-Vilambit - Extremely slow tempo. ​ Awartan - An awartan is one cycle or rotation of a particular composition. In tabla, if a composition is played once, from sum to sum, one awartan of that composition is played. For example, one awartan of teentaal will be of 16 maatras, whereas two awartans of teentaal will be of 32 maatras. ​ Baaj - Playing style. ​ Bada Khyal - A singing composition sung in the slow tempo. ​ Bandish - Composition. ​ Baraabar - Equal rhythm of time; equi-tempo. ​ Baya - Round drum on which bols like ge and ke are played, usually with the non-dominant hand. ​ Bedum Tihai - A tihai with be-dum, meaning no-pause, is a bedum tihai. A bedum tihai has a pause of 1/2 maatra or less. A bedum tihai can't be composed in a taal of which the number of maatras is a multiple of 3 (ex. ektaal, matta taal). ​ Bhareev Theka - A theka filled with a substantial and appropriate amount of syllables. ​ Bhari - A packed or heavy portion of the taal. ​ Bol - Syllable or note played on the tabla. ​ Chakradaar - A chakradaar includes a tihai-containing tukda which is repeated 3 times in order to land on the sum. It is essentially a tihai played 3 times. ​ Chalan - A set of syllables that represents a verse. ​ Chaugun - In a cycle or time interval of a particular phrase, if that phrase is instead played 4 times at 4 times the speed, it is chaugun. In other words, chaugun is quadruple tempo. ​ Chaupalli - "Chau" + "palli" implies 4 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a chaupalli, not only are there 4 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. ​ Cheez - Composition; usually in reference to bandish of raag. ​ Chhota Khayal - Type of composition sung in a fast tempo. ​ Danedaar Theka - A theka with precise bols that still gives off the overall ambience of the theka. Similar to a pearl necklace: even with beautiful individual pearls, an admirer can look at the necklace and distinguish it as a whole. ​ Daya - The tabla, or the drum played usually with the dominant hand. ​ Dhun - a light tune; a folk melody. ​ Drut Laya - Fast tempo. ​ Dugun - Dugun is when a phrase is played two times, at twice speed, within a certain time interval. Whenever 2 maatras are played within a time span of 1 maatra, it is considered dugun. ​ Dumdaar Tihai - Dumdaar, meaning "with a pause," implies that a dumdaar tihai has a pause. The pauses may be short or long, and they may also be simple or complex. Usually, a dumdaar tihai has a pause that is more than 1/2 maatra. A dumdaar tihai with complex pauses is sometimes referred to as bikat dum. ​ Farmaishi Chakradaar - A chakradaar includes a tihai-containing tukda which is repeated 3 times in order to land on the sum. It is essentially a tihai played 3 times. A farmaishi chakradaar is a chakradaar of which the "dha" of the first section of the first tihai lands on the sum, the "dha" of the second section of the second tihai lands on the sum, and the final "dha" also lands on the sum. ​ Gajra - a four ply leather hoop surrounding the face of the tabla which lies around 0.5 to 1 cm below the pudi. ​ Gambhir Rasa - Serious mood. ​ Gat - A gat is a fixed composition composed by various maestros and composers which provides an experience of various elements in nature through the language of tabla. These elements of nature may include things like the flow of a river, the flight of a bird, or the bouncing of a ball. A gat is completed before the sum, and therefore can be played multiple times sequentially. A gat is usually performed at least twice in a solo performance. ​ Gat-Kayda - A gat-kayda is a composition which uses the expansion rules of a kayda but uses the language of a gat. A gat-kayda utilizes the chaal or flow of a gat. It is found in Lucknow and Farrukhabad Gharanas. Although it is an expansionary composition, the extent to which it may be expanded is usually less than a regular kayda because the bols used in this composition are heavy bols found in gats. ​ Gat-Paran - A gat-paran is a composition/tukda with open, prominent bols. The term “Paran” comes from the Sanskrit word “Pern,” meaning leaf. Similar to a leaf’s main stem and small branches, a paran, coming from pakhawaj language, has a main phrase which branches out into other phrases based on the original. A gat-paran is a paran that uses the language of a gat. ​ Gatthaa - A wooden cylindrical block which is utilized in order to adjust the pitch of the tabla. ​ Gayaki Ang - A form of playing melodious instruments with a close similarity to the vocal form. ​ Gharana - A school of Indian Classical Music. ​ Ghazal - A light vocal musical form sung with poetic aesthetics. ​ Gheeskam - A style of playing the baya. ​ Ghumara - A style of playing the baya. ​ Guru - A teacher. ​ Jati - Indicates creating a distribution of syllables in a particular maatra in various ways. ​ Kamaali Chakradaar - The word "kamaal" means amazing or skillful. Similarly, a kamaali chakradaar is skillful and even more intricate than a farmaishi chakradaar. It involves unique mathematical calculations and patterns. A kamaali chakradaar incorporates 27 "dhas", of which the 1st dha of the 1st section lands on the sum, the 14th dha of the 2nd section lands on the sum, and the 27th and last dha of the 3rd section lands on the sum. Each of the 3 tihais or "chakras" within a kamaali chakradaar requires 9 "dhas". ​ Karuna Rasa - A compassionate mood. ​ Kayda - An expansionary composition with a balance of consonant and vowel phrases which begin and ends with a vowel phrase is called a kayda. Kaydas have khaali and bhari components and divisions. The divisions of a kayda may either be symmetrical to the taal in which the kayda is established or may fall in odd places. ​ Khaali - A khaali can be represented by taking your hand away or striking with the back of your hand during recitation of a taal. It represents the starting maatra of a khaali, or hollow, division. ​ Khalifa - Heir. ​ Khayal - A vocal musical form which was popularized after Dhrupad/Dhamaar. ​ Khula - Open. Kissm - Variations in a theka played without disturbing the theme or flow of the theka are called kissm. While accompanying, a tabla player may play various kissm in order to musically and appropriately match the main performing artist's composition. ​ Laggi - A short, attractive theme played in drut laya in taals such as dadra or keherwa. It is one of the smallest expandable compositions, of which the variations or referred to as "laut-palat," meaning "back and forth," referring to the combinations made in the variations of the laggi. A laggi is a useful composition for accompaniment. ​ Laya - Laya, or tempo, is an important element of music. It is the distance between two maatras. When the distance between two maatras increases, the speed of the composition slows down, and vice versa. In other words, laya represents the equal movement of time and the equal spacing between two maatras. Laya also means destruction: when a second maatra is produced, the time interval or the reign of the first maatra fades away. An artist may perform in various layas according to the rules of Indian Classical Music. ​ Layakari - The skill of controlling the laya and changing how the maatras are divided to create rhythmic variation. In other words, it is the practical and artistic implementation of various layas. ​ Lehra - A repeating melody used to accompany tabla solo-playing in a given taal. ​ Maatra - A maatra is a medium of measuring the taal. It is the smallest whole unit or "beat" of a taal. Each taal has a set number of maatras, and each maatra is of equal length. Example: Teentaal has 16 maatras of equal length. In literal terms, maatra means "part". ​ Madhya Laya - Medium tempo. ​ Masidkhani - Type of composition played on instruments like the sitar in a slow tempo. ​ Meend - A style of playing the baya through controlling the resonance. ​ Mehfil - A musical function/concert, with a small audience and intimate setting. For example, ghazals were often sung in house mehfils. ​ Mohra - A mohra is a small composition used to arrive at the sum gracefully. It is shorter in length than Mukhda and uses softer bols. It is usually a pick-up phrase or hook played spontaneously in accompaniment to vocal/instrumental music in order to transition onto the next awartan. It may or may not have a tihai. ​ Mukhda - A mukhda is a short and attractive composition of a few maatras used to land on the sum. A mukhda is longer than Mohra but shorter than Tukda. The length of a Mukhda is generally equal to or less than one Awartan. It uses stronger bols such as those found in a Paran. Some stalwarts say that a mukhda usually is the combination of bols composed in the last few maatras of an awartan in order to arrive at the sum. It may or may not have a tihai. ​ Naad - The sound that is produced from playing a certain bol on a musical instrument. ​ Nikaas - A style of presenting or expressing a certain bol through an instrument. ​ Nishabda - A soundless activity which may be indicated by the movements of our hands. ​ Pakhawaaj - An Indian drum placed horizontally. ​ Palta - Expansionary compositions such as kaydas or relas are improvised upon through the help of paltas. A palta is a variation which is derived from the bols of the mukh or theme of the kayda or rela. Paltas help to show different combinations of a mukh using the bols of that mukh. Mathematically, we can come up with a seemingly endless amount of permutations and combinations using a specific language, and the expansion process differs from player to player. ​ Paran - Connecting to the Sanskrit word "pern," meaning leaf, a paran is a composition with accent-filled, resonance-filled bols. It generally ends with a tihai and can be compared to the structure of a leaf: a main vertical axis which "branches out" into veins on both sides. ​ Peshkaar - A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. ​ Raag - A melodic framework in Indian Classical Music improvised upon in various ways. ​ Rasa - A mood or taste pertaining to various raags. ​ Rela - A rela is an expansionary composition which begins with a vowel but ends with a consonant phrase. A rela has rapid bols and is played in drut laya, helping to create a harmonious chain or musical flow. Many relas are abundant in consonants. ​ Riyaaz - Practice. ​ Sampadi - A taal in which all divisions have the same number of maatras (Ex. teentaal, ektaal, chautaal, ada-chautaal). ​ Sangeet - Sangeet is the combination of the 3 arts in Indian Classical Music: singing, instrumental playing, and dancing. ​ Sashabda - An activity which includes sound and which can be indicated through the movements of the hands. ​ Shanta Rasa - Tranquil mood. ​ Shringar Rasa - Erotic mood. ​ Sum - Sum refers to the first maatra of the taal. In other words, it is a beginning. The main function of the sum is to establish a point of resolution or emphasis. In theory, it represents a "restart" of a cycle of taal. ​ Swar - Swar refers to distinct musical notes of various frequencies. (Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa). ​ Taal - Taal refers to a system of rhythmic pattern in Indian Classical Music. Rhythm is a fundamental concept for music. While there a various types of taals, with different characteristics and number of maatras, songs, instrumental compositions, and dance compositions in Indian Classical Music are established in a certain taal. This way, taal is a technique of measuring time in musical compositions. ​ Taali - A taali can be represented by the clapping of hands during recitation of a taal. It represents the starting maatra of a bhari, or packed, division. ​ Taan - A fast phrase sung or played on an instrument which includes intricate note patterns. ​ Taleem - Education, direction. ​ Tatkaar - -A prominent activity constituting Kathak. ​ Tayyari - Readiness or maturity. ​ Theka - The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. While a taal can be simply expressed through taali/khaali, in order for a taal to be musically useful, a theka is employed. There may be differences of the theka played for any particular taal according to the context in which the theka is performed. ​ Tigun - In a cycle or time interval of a particular phrase, if that phrase is instead played 3 times at thrice the speed, it is tigun. In other words, tigun is triple tempo. ​ Tihai - A tihai is a composition in which a phrase is repeated 3 times with 2 equal pauses to arrive on a designated position, usually but not necessarily the sum. ​ Tripalli - "Tri" + "palli" implies 3 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a tripalli, not only are there 3 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. ​ Tukda - A tukda is a fixed composition primarily with forceful bols and heavy consonants. A tukda contains a tihai within it and usually is 2-3 awartans in length. Some stalwarts argue that a tukda, or "piece," is a portion of a longer composition which, even if played independently, appears meaningful. ​ Upaj - A spontaneous expression which is irreproducible due to its impromptu nature. ​ Uthaan - An attractive fixed composition played at the beginning of a solo performance. Benares Gharana players usually start their solo with an uthaan, which helps to increase the energy amongst the audience. It is played in fast tempo, can have features of a tukda or paran, and and can be short and long. ​ Vazandar Theka - Theka with weighty bols. ​ Veer Rasa - Heroic mood. ​ Vibhaag - Vibhaag, or khand, are divisions made within a taal as per the khaali and bhari (packed and hollow) components of a taal. A vibhaag can be of even or odd number of maatras, and different taals may have different vibhaags. For example, teentaal has 4 vibhaags of 4 maatras each (4+4+4+4) whereas rupak has 3 vibhaags of 3,2,2 maatras (3+2+2). In other words, vibhaags are subsections made within a particular taal. ​ Vilambit Laya - Slow tempo. ​ Vishampadi - A taal of which divisions are of various numbers of maatras (Ex. Dhamaar). ​ BACK TO TOP

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

TYPES OF COMPOSITIONS There are many types of tabla compositions, and such compositions have been composed considering the different requirements or unique ideas during different time periods. The types of compositions played, and the style of playing various compositions, varies from gharana to gharana. We can divide all of such compositions into two big categories: fixed compositions and expansionary compositions. ​ ​ Expansionary Compositions ​ Expansionary (expandable) compositions are those which may be expanded upon through various paltas or variations in a specific manner. This expansion may be done in both a pre-planned mannner (such as memorizing variations and patterns) or in a spontaneous, live, improvised manner according to one's musical thought process. Expansionary compositions such as relas or kaydas often times have specific rules or guidelines, such as only including the bols found in the mukh or altering the next palta based on the pattern of the previous one. Expansionary compositions primarily include peshkaar, kayda, rela, gat-kayda, ladi, etc. ​ ​ Fixed / Pre-Composed Compositions ​ A fixed composition implies that the composition will not be expanded upon through paltas or variations. Often times, composers will compose a certain experience within a given laya and with suitable bols and phrases. Compositions such as gats may take a long time to compose, and can't be designed impromptu. Fixed compositions are mostly played near the end of a performance and may also show the significance of certain phrases through emphasis or a specific playing manner. Fixed compositions primarily include tukdas, gats, gat-tukdas, chakradaars, etc. ​ ​ Types of compositions, in alphabetical order Click on the composition to learn more ​ Aamad Chakradaar (includes farmaishi chakradaar and kamaali chakradaar) ​ Chalan Gat Gat-Kayda Gat-Paran Gat-Tukda Kayda Kissm Ladi Laggi Mohra Mukhda Palta Paran Peshkaar Rou Rela Theka Tihai (includes bedum tihai and dumdaar tihai) Tukda Uthaan 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

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

Donation Box Please donate to help us add new content and features. All proceeds will go towards domain registration fees and website hosting costs. All donations of any amount are appreciated!