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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. ​ Various types of bols can be found in laggi as it is freeform in structure. It my be quite aggressive and energetic, yet is usually used for light accompaniment and semi-classical music. They may be utilized in bhajans (bhajani theka followed by dha dhin na da laggi), qawaali, ghazal, thumri, etc. Apart from singing and instrumental accompaniment, laggis have become popular in the Bollywood musical industry as well. ​ ​ Examples: BACK TO TOP

3. PraVESHIKA Purna The Praveshika Purna tabla exam incorporate a deeper level of understanding for various definitions and compositions. In addition to the practical portion, students will see a written exam for the first time to test their theoretical knowledge. The written exam will include bols/phrases, compositions, and notation systems. Sylllabus Theory 1. Knowledge of Vilambit, Madhya, and Drut Laya ​ 2. Bols/Phrases used in tabla Bols produced only on Daya Bols produced only on Baya Bols produced on both drums together (simultaneously) Bols produced using combination of both drums simultaneously or separately ​ ​ 3. Knowledge of playing techniques of the following bols TRKT, tekS kdaan, kda dha, KTTK, GDNG, DRDR, trake, kda dhaane, GDGN, etc ​ 4. Detailed knowledge of Pt. Bhatkhande and Pt. Paluskar notation systems. ​ 5. Ability to write tukdas in teentaal and jhaptaal in Pt. Bhatkhande system ​ 6. Definitions Kayda, Palta, Rela, Tihai, Mukhda, Mohra, Laggi, Uthaan, Chakradaar Notes 1. Knowledge of Vilambit, Madhya, and Drut Laya ​ Laya, or tempo, is an important element of music. It is the distance between two maatras. When the distance between two maatras increases, the speed of the composition slows down, and vice versa. In other words, laya represents the equal movement of time and the equal spacing between two maatras. Laya also means destruction: when a second maatra is produced, the time interval or the reign of the first maatra fades away. An artist may perform in various layas according to th e rules of Indian Classical Music. ​ There a three main types of layas: Vilambit (slower), Madhya (medium), and Drut (faster). Ati-Vilambit a nd Ati-Drut correspond to extra-slow and extra-fast, respectively. ​ Madhya Laya - Medium tempo, approximately equal to heart rate, 80 bpm Vilambit Laya - Slow tempo played at approximately ½ of the speed of the Madhya Laya, 40 bpm Drut Laya - Fast tempo played at approximately 2 times the speed of the Madhya Laya, 160 bpm There aren’t precise numbers for each laya, it is relative to the composition. ​ Performances in Indian Classical Music tend to develop from vilambit to drut laya, meaning that the speed increases periodically. Peshkaar is considered a vilambit laya composition, kaydas are played in madhya laya, and relas/chakradaar/gat are usually in drut laya. The importance of this sequence is that a slower speed at the beginning allows for more room to improvise, fill the maatras, and essentially warm up. As a performance continues, and the energy or mahol becomes more powerful, the laya increases all the way up to drut and ati-drut, where fixed compositions with heavy consonants (ex. tukdas) are played. ​ More Info ​ ​ 2. Bols/Phrases used in tabla ​ Bols produced only on Daya ta, tite, ti, na, tun, ne with ring finger, tak, tiretire, ... Bols produced only on Baya ge, ke, ghi, ... Bols produced on both drums together (simultaneously) dha, dhin, tin, ... Bols produced using combination of both drums simultaneously or separately dhage, tinakena, dhina, dhite, TRKT, DRDR, GDNG, GDGN, KTTK, trake, ... ​ ​ ​ 3. Knowledge of playing techniques of the following bols TRKT, tekSkdaan, kda dha, KTTK, GDNG, DRDR, trake, kda dhaane, GDGN, etc Be able to describe the hand movements (up and down or side to side) when playing each bol and the specific fingers and parts of fingers that are utilized when playing each bol. Be able to describe which exact part of the tabla or dagga are struck for each individual bol. ​ ​ 4. Detailed knowledge of Pt. Bhatkhande and Pt. Paluskar notation systems. ​ Click Here The exam may test your ability to write in both types of notation systems by asking you to write specific compositions in a particular notation system. (Example: Write tigun of rupak in Pt. Paluskar notation system). ​ 5. Ability to write tukdas in teentaal and jhaptaal in Pt. Bhatkhande system ​ Write various tukdas according to what has been taught to you. Examples of simple tukdas: ​ ​ 6. Definitions Kayda, Palta, Rela, Tihai, Mukhda, Mohra, Laggi, Uthaan, Chakradaar ​ Kayda - An expansionary composition with a balance of consonant and vowel phrases which begin and ends with a vowel phrase is called a kayda. Kaydas have khaali and bhari components and divisions. The divisions of a kayda may either be symmetrical to the taal in which the kayda is established or may fall in odd places. More Info ​ Palta - Expansionary compositions such as kaydas or relas are improvised upon through the help of paltas. A palta is a variation which is derived from the bols of the mukh or theme of the kayda or rela. Paltas help to show different combinations of a mukh using the bols of that mukh. Mathematically, we can come up with a seemingly endless amount of permutations and combinations using a specific language, and the expansion process differs from player to player. ​ Rela - A rela is an expansionary composition which begins with a vowel but ends with a consonant phrase. A rela has rapid bols and is played in drut laya, helping to create a harmonious chain or musical flow. Many relas are abundant in consonants. More Info ​ Tihai - A Tihai is a composition in which a phrase is repeated 3 times with 2 equal pauses to arrive on a designated position, usually but not necessarily the sum. More Info ​ Mukhda - A mukhda is a short and attractive composition of a few maatras used to land on the sum. A mukhda is longer than Mohra but shorter than Tukda. The length of a Mukhda is generally equal to or less than one Awartan. It uses stronger bols such as those found in a Paran. Some stalwarts say that a mukhda usually is the combination of bols composed in the last few maatras of an awartan in order to arrive at the sum. It may or may not have a tihai. ​ Mohra - A mohra is a small composition used to arrive at the sum gracefully. It is shorter in length than Mukhda and uses softer bols. It is usually a pick-up phrase or hook played spontaneously in accompaniment to vocal/instrumental music in order to transition onto the next awartan. It may or may not have a tihai. ​ Laggi - A short, attractive theme played in drut laya in taals such as dadra or keherwa. It is one of the smallest expandable compositions, of which the variations or referred to as "laut-palat," meaning "back and forth," referring to the combinations made in the variations of the laggi. A laggi is a useful composition for accompaniment. ​ Uthaan - An attractive fixed composition played at the beginning of a solo performance. Benares Gharana players usually start their solo with an uthaan, which helps to increase the energy amongst the audience. It is played in fast tempo, can have features of a tukda or paran, and and can be short and long. ​ Chakradaar - A chakradaar includes a tihai-containing tukda which is repeated 3 times in order to land on the sum. It is essentially a tihai played 3 times. More Info ​ ​ BACK TO TOP

TAALS Comparative Analysis BACK TO TOP

Gat-Kayda A gat- kayda is a composition which uses the expansion rules of a kayda but uses the language of a gat. A gat- kayda utilizes the chaal or flow of a gat. It is found in gharanas such as Benares, Lucknow, and Farrukhabad . Although it is an expansionary composition, the extent to which it may be expanded is usually less than a regular kayda because the bols used in this composition are heavy bols found in gats. Another reason why we find that gat-kaydas are less expandable is because the effect of the gat-kayda primarily relies on its contrast and juxtaposition of different phrases (the phrases found in a gat are usually very diverse), meaning that it is harder to make several balanced variations connecting to the main theme. A gat-kayda uses khula baaj bols and thus can't normally be played as fast as a regular kayda. ​ Definition of gat: Click Here Definition of kayda: Click Here ​ ​ Examples: ​ ​ BACK TO TOP

TAAL AND THEKA Taal ​ The technique of measuring time in musical compositions is called taal. Historical definitions The practical and cyclical division of time established in music- Sangeet Makarand The medium in which vocal music, instrumental music, and dance establish themselves - Sangeet Ratnakar The medium which measures the activities of vocal music, instrumental music, and dance - Sage Bharat Muni The counting and striking with hands, or closing and opening the fingers during a music performance - Sangeet Chintamani The common theme in all perspectives is that taal is a tool of measurement. ​ The technique of measuring time in musical compositions is called taal. ​ It derives from a pre-conceived and stable idea of time that flows cyclically Can be understood by grasping sashabda (with sound) and nishabda (without sound) aspects of music and time Taal is a base with a specifically defined number of figures/maatras (Teentaal has to have 16 maatras, while Jhaptaal has to have 10 maatras). Instruments are not necessary to express taal, we can experience taal simply through sashabda / nishabda aspects (ex. Hasta-kriya / taali-khaali with hands) “Blank Canvas” with set maatra boundaries The compositions within a musical performance are based on a particular taal ​ Creation Process For Each Taal ​ First the number of maatras in a taal are decided In accompaniment, the number of maatras usually corresponds to the type of composition of the main artist Dhrupad/Dhamar employs taals with large number of maatras, taals for Khayal are usually shorter (at most 16 maatras) The rasa (mood) created in vocal music can be related to the length of the Taal Smaller taals more useful for shringar rasa Longer taals more useful for shanta rasa Once number of maatras are finalized, the taal is divided into khand (number of subsections) Then, placement of taali/khaali for the taal is finalized Bols are used to fill in the outline and characteristics of the taal appropriately Taals for Dhrupad/Dhamar had a more mature and serious feel. In ancient times, Dhrupad/Dhamar usually employed taals with a very high number of maatras. Taals for Khayal also include those with relatively smaller maatras (7, 12) ​ ​ Theka The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. Theka is the first bandish of taal. In other words, it is a composition which can be played through an instrument such as the tabla or pakhawaaj in order to express a taal. Using a musical instrument, we can employ appropriately designed bols to fill each maatra, and multiple maatras make up one awartan, and like that one awartan of theka is produced There are multiple variations of theka for each taal. A taal can be played in different ways (Jhoomra, Roopak, etc) Tilwada, punjabi can be thought of as thekas. Tilwada is a theka of teentaal. The vibhaag employed during tilwada is the same as that of teentaal. Theka is a particular identity designated to the context of the performance and to the personality of the tabla player The theka for accompanying multiple singing compositions may differ, even in the same taal Theka is designed based on the nature of the singing composition During a singing, instrumental, or dance performance, taal can be announced directly but the theka is not A taal doesn’t automatically give us the theka, whereas each theka is based on a particular taal. Taals of equal maatras can have different thekas The changes and variations within theka can’t distort the boundaries set by the taal Dhrupad/Dhamaar employs theka with khula (open) bols In Khayal, theka is employed, especially in vilambit laya, may make use of multiple bols within one maatra in order to decorate the laya and fill in the gap between maatras in vilambit laya. They may also play a lot of bols before the khaali or before the sum in order to show emphasis In general, a taal is straightforward and is bound to the number of maatras within the designated laya. In the musical boundaries of the taal, theka can be played. The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. ​ Some stalwarts argue that pure Vilambit Khayal itself does not show us the pattern of Taal, whereas Dhrupad/Dhamar directly follows Taal (some Dhrupad singers may even show the taal on their hand). Bandish of Dhrupad/Dhamar directly indicates the taal, whereas this is not the case for Khayal. One proof of this is that it is impossible to start with a tukda/gat at the beginning while accompanying Khayal sangeet. Additionally, the singer may need to indicate the speed to the tabla player through a TRKT at certain times when performing extremely ati-Vilambit Ektaal as the words of the singer may not directly indicate the taal or speed. Khayal sangeet can be considered theka sangeet. There are some skeptics to this idea, who argue that there are some examples of Khayal bandish that demonstrate the structure of taal. So, there are some counterexamples to this general observation. ​ The Interrelation Between Taal and Theka ​ Taal is definite. Even without bols played on an instrument, it can be expressed via hand gestures. Theka depends on the taal and is constructed with its characteristics in mind. In order for taal to be musically useful, theka is necessary. During accompaniment in various layas, it is important not to disturb the nature of the taal. Different types of thekas such as Vazandaar (weighty) theka, Bhareev (granulous) theka, or Danedaar (bols that still give the overall ambiance of the cycle) theka can be employed to express the relation between taal and the singing/instrument/dance composition that is being accompanied. ​ ​ ​ 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. ​

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

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. ​ Refer to Taal and Theka for additional analysis of theka and the difference between taal and theka. ​

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