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5. M adhyama pURNA The Madhyama Purna tabla exam asks for deeper knowledge on vocal styles, history of tabla, gharana, and accompaniment. The student should be able to write compositions in various layas such as aad, kuwaad, and biaad. The exam includes biographies of various great tabla players. The student's understanding of taal, as well as an analysis between peshkaar, kayda, and rela, will have to be reinforced. Sylllabus Theory 1. Various styles in vocal music: Dhrupad, Dhamaar, Ghazal, Tappa 2. History of tabla from its origins to present times: changes and developments 3. Knowledge of all gharanas of tabla and their baaj 4. Knowledge about accompaniment to vocal, instrumental, and dance with associated guidelines and rules 5. Ability to write thekas for teentaal, jhaptaal, and rupak in each of the following layas aad, kuwaad, biaad 6. Definitions aamad, tripalli, chaupalli, gat kayda, kamaali chakradaar 7. Biographies of the following tabla players and their contributions Ustad Ahmedjaan Thirakhwa, Ustad Amir Hussain Khan Saab, Ustad Alla Rakha, Ustad Habibuddin Khan, Pandit Samta Prasad, Ustad Afaq Hussain Khan, Swami Paagaldasji, Raja Chatrapati Singh 8. Essay on taal and tabla 9. Detailed comparative analysis of peshkaar, kayda, and rela Notes 1. Various styles in vocal music: Dhrupad, Dhamaar, Ghazal, Tappa Click Here 2. History of tabla from its origins to present times: changes and developments Click Here 3. Knowledge of all gharanas of tabla and their baaj Click Here 4. Knowledge about accompaniment to vocal, instrumental, and dance with associated guidelines and rules Click Here 5. Ability to write thekas for teentaal, jhaptaal, and rupak in each of the following layas aad, kuwaad, biaad Try to write the theka in just one awartan: start the beginning maatras in baraabar (single) laya and then fill the awartan with the desired laya. How to write fractional layakari of any taal When performing layakari, complex fractional forms can be used. Double 2/1 (Duppat) Triple 3/1 (Tippat) Quadruple 4/1 (Chaupat) 3/4 (Poundpat) 4/3 (Inverse of Poundpat) 5/4 (Kuwaad) 4/5 (inverse of Kuwaad) 3/2 (Aad) 2/3 (Inverse of Aad) 7/4 (Biaad) 4/7 (Inverse of Biaad) *The above method of referring to layas with fractions is adopted because it is easier to understand the speed in relation to the value of the fraction (as taught in school). For example, if the fraction is 7/4, it is faster than baraabar laya because 7/4 is greater than 1. If the fraction is 3/4 (Poundpat), then it is slower than baraabar laya because 3/4 is less than 1. The above method of referring to layas in terms of fractions smaller than or larger than 1 is found to be efficient because it directly indicates if the speed is slower or faster than baraabar. Think of the respective fractions as "multipliers". if the fraction is less than 1, it goes slower than baraabar Ex. (2/3) if the fraction is more than 1, it goes faster than baraabar Ex. (3/2) In order to master layakari in any taal, understanding the layakari with mathematical formulas is essential. For example, let’s try writing jhaptaal in kuwaad (5/4) laya. Step 1: The numerator of the fraction (5) represents the number of beats in each maatra while writing kuwaad. Step 2: The denominator minus 1 (3) represents the number of pauses to leave after each bol while writing Kuwaad. Step 3: Write the kuwaad of jhaptaal with 5 beats per maatra and 3 beats of pauses after each bol. → DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS Because writing the kuwaad of jhaptaal took 8 maatras, we can fill the first two maatras with pauses to complete one awartan of jhaptaal (10 maatras). → SSSSS SSSSS DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS We can use those steps to write the layakari of any taal in any laya. The above method can be used for writing layakari so that it fits within one awartan (sum-to-sum). However, we can also write the kuwaad of jhaptaal 5 times without the two maatras of pause in the beginning so that it fits in 4 awartaans of jhaptaal (40 maatras). We were able to find out that doing the kuwaad of jhaptaal takes 8 maatras by practically writing and finding out. But there is also another way of finding out how many maatras the layakari of a particular taal will be. Simply flip the numerator and denominator and multiply that by the number of maatras in the taal. Ex. The Kuwaad of Jhaptaal will be 8 maatras long The inverse of the Kuwaad fraction (5/4) is 4/5 4/5 times 10 maatras in jhaptaal is 8 Ex. The Aad of teentaal will be 10 and 2/3 maatras The inverse of Aad fraction (3/2) is 2/3 2/3 times 16 maatras in teentaal is 10 and 2/3 6. Definitions aamad, tripalli, chaupalli, gat kayda, kamaali chakradaar Aamad - Aamad means "arrival". In general, a composition which gives a sense or intuition of arriving on the sum is aamad. In dance music, the introduction of rhythmic bols spoken at the beginning of a Kathak performance is called Aamad. It is an entry movement that traces itself back to the Mughal era. It is known to evoke a sense of grandeur and represents taking command of the area. In other words, it is a stylized way of taking an entry during a Kathak performance. Aamad corresponds to “alaap” or “peshkaar” in Indian music. The structure of an aamad is a body followed by a tehai. The term “aamad” was utilized after the Mughal era, before which presentations would start with an uthaan. 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. 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. 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. 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". In other words, there are 3 sections. There are 3 tihais within each section. There are 3 "dhas" in each tihai. The 1st dha of the 1st tihai of the 1st section lands on the sum. The 2nd dha of the 2nd tihai of the 2nd section lands on the sum. The 3rd dha of the 3rd tihai of the 3rd section lands on the sum. 7. Biographies of the following tabla players and their contributions Ustad Ahmedjaan Thirakhwa, Ustad Amir Hussain Khan Saab, Ustad Alla Rakha, Ustad Habibuddin Khan, Pandit Samta Prasad, Ustad Afaq Hussain Khan, Swami Paagaldasji, Raja Chatrapati Singh Click Here 8. Essay on taal and tabla Click Here 9. Detailed comparative analysis of peshkaar, kayda, and rela 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. More Info 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 Rela - An expansionary composition with 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 *In general, compositions become less improvisationary from peshkaar to kayda to rela as the speed increases and the inclusion of heavy consonant phrases increases. All 3 compositions, peshkaar, kayda, and rela are still expansionary because we can create variations of the mukh (theme). *Difference between improvisation and expansion: While expansion implies that we can create variations and paltas of a particular composition, improvisation means that the player has liberty to take maximum freedom according to the rules of Indian Classical Music to show their individual thought process. Peshkaar is the most improvisationary because not only is it in vilambit laya (which allows for more time to fill the maatras), but the player may incorporate different types of bols while expanding. On the contrary, expanding a kayda requires the use of the only the bolds found in the mukh of the kayda. BACK TO TOP

vISHARAD pURNA mATERIAL IS aVAILABLE IN aDVANCED cONTENT

listening material TABLA SOLOS https://youtu.be/TrQ8AkgpmC8 https://youtu.be/dM07DpKeVGg https://youtu.be/eEMmMYVCGog https://youtu.be/VOJd4QK2mAw https://youtu.be/j8-HoN0X7DM https://youtu.be/xuljZW6BnIM VOCAL VILAMBIT LAYA TEENTAAL SMT. KISHORI AMONKAR https://youtu.be/rj4jHvNkKTA PT. MALLIKARJUN MANSOOR https://www.youtube.com/watch?v=3iC_5G3qF2s SMT. KESARBAI KERKAR https://www.youtube.com/watch?v=8OZIs0HaT-4 SMT. MOGUBAI KURDIKAR https://www.youtube.com/watch?v=w5idEgrOs10 PT. ULHAS KASHALKAR https://www.youtube.com/watch?v=dTnJC2KpLAw VOCAL VILAMBIT LAYA EKTAAL PT.ULHAS KASHALKAR https://www.youtube.com/watch?v=QIFbB_Ucxw0 UT.RASHID KHAN https://www.youtube.com/watch?v=mLqO8cgM_gc UT. AMIR KHAN https://www.youtube.com/watch?v=wtX2AbX2s_4 PT. BHIMSEN JOSHI https://www.youtube.com/watch?v=Wu7CITWKtbU PT. AJOY CHAKRABARTY https://www.youtube.com/watch?v=zsUqsU_f2rI VOCAL MADHYA LAYA TEENTAAL UT.RASHID KHAN https://www.youtube.com/watch?v=AWFcwdu4EmI DR. PRABHA ATRE https://www.youtube.com/watch?v=fKmSE252OUo UT. AMIR KHAN https://www.youtube.com/watch?v=E31tQK-prtg PT. KUMAR GANDHARVA https://www.youtube.com/watch?v=PQ7QxpvLo9M POPULAR BHAJANS FOR ACCOMPANIMENT https://youtu.be/J7DP-sCeHmE https://youtu.be/BAOLNePEl4o https://youtu.be/kIvCtJEispY https://youtu.be/OgVNMOCvqJ4 https://youtu.be/gtQQR81-9kQ https://youtu.be/19rhuwTC4nl https://youtu.be/Hr8ama4aXHY https://youtu.be/60xmh6lLIEQ https://youtu.be/DT-HB67NVLE https://youtu.be/E9zUv6_J5ic 1998 Tabla Seminar at NCPA https://www.youtube.com/watch?v=1Uf6yPc2MhA&list=PLTEp10GSV40mG-JLz01NHbjIeAMvoaitW

fundamentals essential concepts of tabla

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

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

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

MUKHDA VS MOHRA VS TUKDA VS UTHAAN To be added.

solo and accompaniment Solo A solo may be presented in a variety of different ways in accordance to one's gharana and playing style. While most solos are in teentaal, tabla players can present a plethora of different taals such as roopak, jhaptaal, deepchandi, matta taal, pancham sawari, etc. To help provide a laya for the tabla player, a lehra from an instrument such as sarangi, harmonium, sitar, etc is utilized. While performing, the tabla must be tuned properly to a given swar matching the lehra. A laya generally increases from vilambit compositions (peshkaar) to madhya (kayda) and eventully drut (relas, tukdas, chakradaars). Padhant can be done for fixed compositions such as tukdas and chakradaars in order to vocally express the bandish. The laya should remain steady from the tabla player, who should prompt the lehra to adjust the laya when it changes. The tabla player should remain personable throughout with sensible facial expressions and body language. Presentation of peshkaar shows maturity and creativity, while kayda shows the expansion process. The rela conveniently shows tayyari and dexterity of the hand, and can oftentimes be entertaining for the audience. A tabla player should be able to present in various different layas and perform layakari, which indicates his mastery over the instrument. Ending compositions such as tukdas, mukhdas, parans, gats, and chakradaars effectively conclude a performance. Having a huge collection of different types of compositions is important for conducting a solo for any designated amount of time. There are various desirable qualities in a tabla player that exemplify themselves during a good solo performance. A tabla player should always remain humble and respectful to the guru and audience. Gurus and great tabla players are often praised during the beginning of a performance. There should be minimal abnormalities in expressions while playing tabla. A tabla player should always end the performance in the intended time frame. Apart from knowledge and riyaaz, a good tabla player also memorizes several fixed compositions of various tabla veterans so that he can recite the padhant in a clear and understandable manner. The tabla playing itself should be all rounded and playing extremely loudly doesn't necessarily warrant a pleasant experience. The tabla player himself should wear appropriate clothing and should maintain a joyful gesture. Tabla players end their stage performance with a namaskar as a way of thanking the audience. Accompaniment Tabla has been a prominent and often desired instrument for several artists. Playing styles have developed to suit various vocal styles, dance, and instruments. We can signify its evolution through an important mark which changed the playing style completely: the creation of the Lucknow Gharana. The Delhi baaj was significantly altered to better accompany kathak dancers and singers. Like this, alterations of smaller and bigger notches have been made in order to better mold tabla into a desirable position within all forms of Indian Classical Music. The lower octave note of the baya, the higher octave note of the tabla, and the lower octave note of the tabla obtained from a lower pitched tabla have successfully enabled it to appropriately accompany khayal, semi-classical, light music, instrumental music, dance, etc. There are several guidelines for tabla players to follow while accompanying. Main artist gets to choose to raag, taal, and laya Tabla player must make tabla playing effective The tabla must be precisely tuned and adjusted as required The laya must be undisturbed so the main performer can stabilize and perform their main composition with minimal obstacles, and then changed when the main performer signals to do so Compositions played during accompaniment should not be bland nor excessive What to play, where to play, and how much to play differs from style to style and artist to artist The tabla composition should not disturb the main composition's line of thought The tabla player should consider the time and mood of the raag The tabla player's designs should fit with the thought process and variations made by the main artist Accompaniment shouldn't be like a collage Qualities of a good accompanist. Great imagination, observational skills, and intelligence Frequent listener of music for background knowledge Sets aside ego and very supportive to main artist Players like Ut. Alla Rakha and Ut. Habibuddin Khan were extremely famous and influential accompanists. Ut. Alla Rakha is known for bridging the gap between Carnatic and Hindustani Music, and his accompaniment wit Pt. Ravi Shankar earned him global fame. Ut. Habibuddin Khan was also a very well known and talented accompanist, and was a common choice for many famous artists. In order for a tabla player to be a successful accompanist, he/she must have the knowledge and understanding of musical styles in Indian Classical Music. In short, the accompaniment of the tabla player should give the artist a stage upon which to build and express creativity. Vocal Accompaniment It is wise to keep an emphasis on the taali and khaali of the taal. The singer is dependent on the player's theka, so it must be easy to understand the taal through the theka. While singing in madhya laya, it may be appropriate to play a small tihai before the completion of the awartan, depending on the vocal style and context. While singing in drut laya, playing pieces with faster heavier bols may be suitable. Bada Khayal Bada Khayal is in vilambit laya. There is a bigger (bada) gap between two maatras, and therefore between two sums. The theka should be able to be played for a very long duration of time without disturbing the laya. In extremely slow compositions, such as those in extremely slow ektaal, the tabla player should be able to keep an extremely precise laya. This is usually done by splitting a maatra into divisions of 4. If the singer gets lost in the theka due to various expressions of his/her raag, the clarity of the tabla player's theka, as well as an effective emphasis on certain bols, should bring the singer back to position. Once the asthayi begins, one can take a small mukhda before the sum and then begin the theka. The tabla players should be well informed of the syllables in the sum as oftentimes, the singer sings the same composition by assuming the sum at various places. In the first two maatras, the tabla player should confirm that the laya is correct, and make any necessary changes accordingly. In this khayal, the tabla player is supposed to play only a content-filled, weighty theka. In vilambit khayal, the tabla player may fill up the gap between the maatras of the theka with fitting bols because the resonance of the first bol doesn't always extend to the next in slow speed. However, overplaying bols and heavy consonants disturbs the theka. In vocal music, gharanas are based on swar pre-dominance, laya pre-dominance, or swar/laya pre-dominance. Based on the needs of the composition, characteristics of the taal, and the preferences of the artist, the tabla player should decide whether to stick to a simpler theka or one with maximum number of syllables. Chhota Khayal Chhota Khayal is in drut laya. It is mainly in teentaal, ektaal, and sometimes ada-chautaal. The laya is higher, and the tabla player sometimes has the permission to present 2 or 3 awartans with the permission of the main artist. The composition that the tabla player plays should once again fit the environment and dialogue going on between the main artist. Such "pieces" are concluded with a tihai, and then the theka is resumed. If layakari is done in khayal, it might be suitable to play corresponding bols. Geet, thumri, tappa, etc are all part of sugam sangeet or light music. The tabla player has more individuality in such lighter forms. For thumri, deepchandi, addha, keherwa, and teentaal can be used, starting with a simple theka. Two portions included in thumri are the asthayi and the antara. After these, the singer doubles the laya. With the onset of dugun, deepchandi transforms into keherwa. The fickle natured keherwa proved compatible for better measurement of taal and for assisting with dissolving the various rasas produced by thumri. Laggis are essenial component when the laya is increased. Ut. Nizamuddin Khan was a great musician and thumri accompanist. In bhajan, dhumali, qawwali, dadra are used. Bhajani theka is a popular theka used for this form. Laggi is normally played following the first stanza, ended with a small tihai or tod. In taraana, the drut laya prompts the tabla player to play prominent tihais and tukdas while accompanying. In this form, the player may have a higher scope to demonstrate riyaaz. Instrumental Accompaniment Accompanying instruments such as sitar, sarod, sarangi, harmonium, and flute is quite different from accompanying vocal artists. Unlike vocal accompaniment, tabla players have more scope to play compositions apart from just the theka. The tabla accompanist can present gats and other non-expansionary pieces to enhance the performance. It is important for the tabla player to still keep his pieces relatively small as to not disturb the main artist's performance, as it is not a tabla solo. Sometimes, tabla players will incorporate uthaan, gat, kayda, and even relas as suited within the performance. When the instrumentalist plays in drut laya, the tabla player can present a small and attractive tihai before starting the theka in drut laya. Instruments are played in the gayaki ang and alternatively in the tant ang. Gayaki ang compositions mirror the vocal style of khayal, while the compositions presented in the tant ang are called gat. The gat presented in the vilambit laya is called masidkhani gat, while the one in drut laya is called razakhani gat. Accompaniment to khayal presented by instruments such as the violin and the flute is similar to vocal accompaniment, yet the tabla player has more scope to play pieces in accompaniment of gayaki ang instruments as compared to khayal itself. Within the masidkhani gat, the vilambit laya is not as slow as vilambit khayal. The masidkhani gat is primarily played in teentaal, jhaptaal, roopak, ektaal, ada-chautaal, as well as some rare taals such as matta and rudra. The presentation of a raga via an instrument goes from alaap, jod, masidkhani gat, razakhani gat, and finally jhala. When the gat commences, the tabla player can play a few awartans. It is wise to play the peshkaar here and arrive at the sum with a tihai, after which a weighty and emphasized theka should be continued. The main artist is expected to perform several aspects of layakari and chhand, and when signaled, the tabla player should stick to the topic and respond with a tabla composition with the same layakari. A perfection in kaydas, relas, etc is crucial for accompanying instruments because the tabla player requires immense taiyyari and precision. The tabla player should have knowledge and taalim in various unconventional layas as modern instrumentalists often explore them. Even more advanced layakari includes 7 in 5 maatras, 10 in 7 maatras, 14 in 10 maatras, 8 in 9 maatras, etc. The jhala played in instrumental music tests the physical stamina of the tabla player. This form is primarily played in teentaal and sometimes in ektaal. Here, the tabla player's practice of "na dhin dhin na" and anu-drut teentaal or ektaal comes in handy. The quality of naad should remain unhampered until the last awartan and ending tihai. Dance Accompaniment A crucial component of Indian Classical Music is the kathak dance. Its literature resembles the literature of tabla, and accompaniment to dance is not as easy and spontaneous as accompaniment to vocal music or instrumental music. For dance accompaniment, it can prove beneficial to practice with the dancer beforehand. Every dancer has set gats, todas, and chakradaars which vary from gharana to gharana. A successful tabla soloist has the potential to be a great dance accompanist. The dance baaj is mainly the khula baaj with gat-tode and chakradaars. The tukdas, chakradaars, etc therefore need to be memorized and practiced before hand. In dance, there is a creation of various rasas such as the shringar rasa, the karuna rasa, the shanta rasa, and the gambhir rasa. The tabla player must provide accompaniment that is conducive to different rasas. It will provide beneficial to watch different maestros and dancers being accompanied by tabla accompanists. Pt. kishan maharaj The Correlation Between Solo and Accompaniment There is a significant relation between solo playing and accompaniment. A tabla player who is very good solo player has the ability to be a good accompanist as well, taking the roles of a main performer and a supporter at different times. A person who only studies local thekas such as bhikmaang and jaggu thekas may not be able to accompany instruments or dance very well. A person who has done extensive riyaaz and has studied tabla in depth is more flexible and all-rounded, and may even be able to accompany movie songs as well. It is important than an accompanist feels devoted and interested about all instruments and vocal styles in order to conduct an appropriate and enjoyable performance. Although he may not be an expert in instruments or singing, he should have listened to all styles well. An accompanists' creativity, observation, and maturity should be spiked in order to have quality on stage. In ideal accompaniment, he should complement the main artist and should contributed towards the success of the overall performance. By forgetting previous solo-playing skills and reputation, a tabla accompanist should remain humble. There should be an awareness of the softness and hardness (naad) of bols played during various songs and instrumental pieces. Appropriate tabla pieces an expressions should complement the story that the instrumentalist, singer, or dancer is continuously writing. 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

instrument types In Natya Shastra, Sage Bharat Muni has given the classification of instruments. Stringed instruments (Tat Vadya) Wind instruments (Sushir Vadya) Percussion instruments - membranophone instruments (Avanaddha Vadya) Idiophone instruments (Ghana Vadya) Stringed instruments Includes instruments with strings. Divided in two types Tat instruments Produce a note by striking the strings with certain objects. Veena, Sitar, Sarod, Santoor, etc Vitat instruments Played with the help of a bow Sound created by the friction of the bow upon the strings Sarangi, Violin, Dilruba, Tar-Shehnai, etc Wind instruments Produce a sound by blowing air Includes Shehnai, Clarinet, Harmonium For harmonium, the air pressure created by the plate creates the sound Percussion instruments Instruments made out of wood, mud, metal, or stone and have a face comprised of animal hide. In ancient times, an instrument called Bhoomi-Dundubhi existed, with a large hole dug in the ground and an animal hide which was struck with wooden sticks. When Sage Swati noticed the trickling of water upon a group of small and large lotuses in a body of water, he used the inspiration to create instruments such as Mridang, Dundhubi, Aalingya, Urdhwak, and Ankik. Old instruments mentioned in texts: Tripushkar, Mridang, Damru, etc Modern age instruments: Pakhawaaj, Tabla, Dholki, Dholak, Dhol, Daf, etc Idiophone instruments Instruments played by metals striking against each other. Examples: Tal, Ghunghroo, Jhanjh, etc Tal is used in devotional songs (Bhajans) Notes : Stringed and wind instruments can play multiple musical notes / swars Idiophonic instruments and percussion instruments such as tabla do not produce multiple musical notes. The tabla is tuned to a single musical note (such as C or C sharp). Both these types of instruments indicate the laya and taal, which can be beneficial for the main artist for stability. BACK TO TOP

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