Search Results

ladi Ladi implies a series. There are multiple viewpoints of the definition and significance of ladi. ​ "Lad" means a garland of flowers. Just as how the flowers are intertwined in such a way that it is impossible to distinguish and find the "starting point" and "ending point" of the garland, we are unable to find the "starting point" and "ending point" of a ladi, as well as where the sum occurs. Ladis often include heavy bols, as well as bols that are considered hard to play. According to Pt. Arvind Mulgaonkarji's book, the bols of a ladi are as if multiple threads were intertwined into a cord. According to Pt. Sudhir Mayinkar, ladi is similar to the word "ladai". "Ladai" in hindi means fight. He signifies that the nature of the bols of a ladi are such that the audience gets a delusion that they are fighting amongst each other. ​ A ladi has paltas and can be expanded. Just as how TRKT and DRDR are core phrases found in relas, "tite" is a core phrase found in ladi. "Ghidanage" is also occasionally found in ladi. ​ ​ ​ BACK TO TOP

2. PraVESHIKA PRATHAm The Praveshika Pratham tabla exam introduces the student to new definitions and types of compositions. The student will be asked to perform single and double of taals with hand gestures. The student will have to describe different parts of both the tabla and the dagga. Sylllabus Theory 1. Definitions Sangeet , Naad, Swar, Laya, Bol, Theka, Kissm, Kayda, Mukhda, Mohra, Tihai, Tigun, Chaugun, Tukda ​ 2. Recital of following taals using hand gestures with taali/khaali in single and double tempo Rupak and Ektaal ​ 3. Description of different parts of tabla Notes 1. Definitions ​ Sangeet - Sangeet is the combination of the 3 arts in Indian Classical Music: singing, instrumental playing, and dancing. ​ Naad - The sound that is produced from playing a certain bol on a musical instrument. ​ Swar - Swar refers to distinct musical notes of various frequencies. (Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa). ​ 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 are three main types of Laya: 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. ​ More Info ​ Bol - Bol refers to a syllable/note (such as dha) or group of syllables/notes (such as TRKT) played on an instrument. While some bols are played individually on either the daya or the baya, some bols are be played by striking simultaneously on both drums. Bols are the most basic components of vocabulary in tabla compositions, and can be arranged to make bigger compositions such as kaydas and tihais. ​ 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. ​ Taal and Theka ​ 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. ​ 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 componnts 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 ​ 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. ​ 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. More Info 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. ​ 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. ​ 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. More Info ​ ​ 2. Recital of Rupak and Ektaal visit Taals ​ 3. Description of different parts of tabla visit Tabla Structure ​ 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.

TAALS Comparative Analysis BACK TO TOP

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

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

1. Prarambhik The Prarambhik tabla exam is an elementary level exam meant to introduce the basics of tabla. It helps the student understand basic definitions and introductory compositions. Sylllabus Theory 1. Definitions Maatra Taal Sum Taali Khaali Vibhaag Dugun Awartan Notes 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". ​ 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. ​ 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. ​ 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. ​ 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. ​ Taali and Khaali are ideas that represent the first maatras of multiple divisions, or vibhaags, of a taal. They are useful when presenting a taal on hand (Hasta Kriya) . ​ 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. ​ 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. ​ 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. ​ 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!

There’s Nothing Here... We can’t find the page you’re looking for. Check the URL, or head back home. Go Home