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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

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

history: origin and development Tabla, although relatively young compared to the history of Indian Classical Music, has gone through various phases of development in the past few hundred years. Even though it is new, we don't have enough evidence and proper documents to confidently pinpoint its origin or how it was invented. There are many theories regarding the origin of tabla. 1. Reference to Bharat Muni’s Natyashastra : There is an instrument mentioned in Sage Bharat Muni’s Natyashastra called tripushkar. Tri means three. Pushkar means blue lotus.The concept of this instrument probably existed after rain droplets were observed, which made a sound after hitting the pushkar (blue lotus) leaves. There are 3 components to it: Urdhwak - Urdhwak means upright. This instrument was kept perpendicular on the floor. Aalingya -Aalingya means hug. This instrument was tied with a strap and worn around the neck. Ankik - Ank means thigh. This instrument was kept in the lap. Of these 3 the aalingya faded away because of its awkward position and what remained was the tabla. 2. Reference to Vedas / Bhoomi-Dundubhi : There is an instrument called bhoomi-dundubhi; bhumi means earth and dundubhi means percussion. People in ancient times attempted to stretch animal skin on earth and hit it with sticks or danced on it to produce sounds, which may be the origin of all percussion instruments including tabla. 3. Lala Bhawanidas Pakhawaaji : There was a maestro called Lala Bhawanidas Pakhawaaji. He was a court maestro for an empire. Lala Bhawanidas Pakhawaaji lost a pakhwaaj competition (which was like a war and hence called dangal), and in anger threw the pakhawaaj on the floor. The pakhawaaj broke in two pieces. As the instrument was worshiped and it was an offense to break it, Lala Bhawanidas felt guilty. As a result, he tried to tape it back. The resulting instruments sounded totally different. One was called tabla and the other dagga. “toda tab bhi bola... is liye tabla" (the instrument made a sound even after breaking). 4. In Middle East : In Sumerian and Babylonian scripts, the word "balag" refers to percussion. There were instruments called tabal baladi, tabal turkey, tabal jang, tabal sami, tabal mirgi, etc. During war, they used to put two instruments on the back of a camel in order to increase the energy and morale of warriors and to motivate them. They played such instruments using sticks. The resemblance of such terms and the word "tabla" indicates a trace back to the origin of tabla. 5. Amir Khusro : In the 12th century, Amir Khusro created a plethora of instruments. He also created numerous raags, taals, and more. He was regarded as a very talented and creative musician. Some even say that he is the founder of tabla. In Madanula Mousiqi, a book written by Muhammad Qaram Imam, there is no mention of tabla but the writer gives credit to Amir Khusro of producing 17 taal/thekas, many of which were based on Persian beats (behers). However, in the 16th century during Akbar’s era, Abul Fazal wrote a book called Aaina-e-Akbari, which has no mention of tabla. This hints that tabla was not in existence before that era and is not as ancient as other Indian Classical instruments. Furthermore, the advanced structure of the tabla, namely the shahi, proves that the tabla is not older than a few hundred years. 6. Emperor Muhammad Shah : Emperor Badshah Muhammad Shah II employed Rehmat Khan to play pakhawaaj in his court. His second son was also named Amir Khusro who also used to learn khayal gayaki from Sadarang-Adarang who were the founders of that style. 7. Khayal Gayaki : In the 17th century, khayal gayaki came into existence. Musicians Sadarang-Adarang founded and popularized the style of singing. At that time, pakhawaaj was the only percussion instrument used to accompany dhrupad music, but it had a very robust sound with a heavy bass. The volume and type of sound was not completely suitable for the accompaniment of khayal gayaki, so they wanted an instrument that was more delicate and sonorous to sync with this style of singing. The tabla was created as an apt substitute. 8. Khushro Khan : During the same time frame, it is claimed that another pakhawaaji known as Khushro Khan found tabla for accompaniment of khayal gayaki. The resemblance in the names Amir Khusro and Khushro Khan might be a reason why the credit of discovering tabla is oftentimes given to Amir Khusro. Development and changes in recent times: The shahi that was used earlier was a fine powder of iron: mixed from a paste of starch, glue, and water. Nowadays, stones are collected from a river in Ahmedabad, which are abundant in manganese ore. They are crushed into a very fine powder and then the layers of the paste are applied on the pudi. The first layer is applied over a layer of glue, and is sun dried for a couple days. After this layer is dried, consecutive layers are applied, each layer being completely dried with the help of a rubbing stone's friction. A very smooth stone is used for this job, and the water left in the layers is evaporated with the heat that is generated due to the friction. What remains is a dry shahi, which needs to be dried furthermore before the tabla can be used. Dr. C.V. Raman : A great physicist with a good musical background, he researched and experimented with the physics involved in tabla. He discovered the overtones of tabla and thoroughly analyzed them. He has presented an interesting paper on the nodes and anti-nodes produced after the strikes on tabla and dagga. If the generated frequencies of the instruments with no shahi are compared with that of the instruments with shahi, it is observed that the frequency of the instruments with shahi are almost 20% more than without. The sustenance of the sound is mainly because of the shahi. Instruments with shahi not only can be tuned to a particular note but also help in maintaining and enhancing the musical aspect of presentation, especially during accompaniment. Dr. C.V. Raman also attempted to use monkey skin and nuts and screws to tune the tabla, but this concept did not completely work as the sounds were distorted. When you pull up the tabla, there is a process of how it should be done. If the tabla's waadi is pulled in an uneven way, there remains no proper balance of the pudi, which can affect how different bols are played. But nowadays, some creative tabla makers have come up with a tabla that can be tuned to 3-4 notes in a shorter duration of time. These tablas are made with double pudis and can be tuned using nuts and bolts by either tightening or loosening them. Today, tabla makers have also come up with a modern synthetic waadi in place of one made of animal hide. In ancient times, the dagga was made up of clay/mud, but tabla makers shifted to using metals such as steel or copper as they are far more durable. There are many legends about how tabla came into existence, but all critics, musicians, and listeners unanimously agree on it being one of the most sonorous and useful instruments in Indian Classical Music. 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

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

Gat-tukda A gat-tukda has the same chaal as that of a gat and ends with the tihai of a tukda. There is a difference between a tukda and a gat-tukda. While a tukda normally is tied to one laya, a gat-tukda may also incorporate various complex phrase segments set to different layas. A gat-tukda, or "toda," oftentimes carries a variety of laya, powerful and heavy bols (characteristic of gat), and arrives on the sum with a tihai (characteristic of tukda). Definition of gat: Click Here Definition of tukda: Click Here BACK TO TOP