theka The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. While a taal can be simply expressed through taali/khaali, in order for a taal to be musically useful, a theka is employed. There may be differences of the theka played for any particular taal according to the context in which the theka is performed. Refer to Taal and Theka for additional analysis of theka and the difference between taal and theka.

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

WHAT IS TABLA? basic overview of the instrument Tabla is a pair of 2 drums originating from India and is played with the hands. It is an essential percussion instrument within Indian Classical Music, and is performed in the form of solos as well as accompaniment with other instruments, singing, and dance. While Indian Classical Music is an art form which has existed for thousands of years, tabla is a relatively new instrument with origins likely being a few hundred years ago. Tabla is an instrument that requires extensive practice and knowledge. As Indian Classical Music spotlights improvisation and creativity in the observation of musical rules, tabla players use several components of imagination, mathematical patterns, and logical variations in order to compose astonishing percussion. As a result of various schools and lineages of thought within the world of tabla, different styles have contributed towards both a diversification and more recently unification of tabla as different techniques have merged into one common practice today. Tabla follows the idea of taal, or a cycle of a set number of beats. Within repeating cycles of a taal in various designated speeds can exist different compositions, both fixed ones and ones that can be expanded through the help of various variations. With a content-filled dictionary of vocabulary, sharp consonants as well as resonating vowels are used to make bigger arrangements. Tabla's legacy Descriptive knowledge of percussion instruments was available from the Vedic times. This information and conceptual framework was used for the research and development of tabla. Bols of past percussion instruments such as the pakhawaaj were used to develop new tabla bols, which created new thekas and compositions. The reasons for the establishment of tabla included factors such as sound quality and flexibility of application. Today, learning tabla is a more accessible process compared to other instruments because of the diverse body of students and teachers, making it a very expansive field of knowledge. 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

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

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

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. 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

6. Visharad pratham The Visharad Pratham exam will be split in two sections: Theory I and Theory II, taken on two separate time slots. The first section will require insightful knowledge about taal and theka and the relationship between laya and layakari. The student should be able to write tukdas and define new terms with a greater level of understanding. The student will have to compare and analyze taals of equal maatras. In addition, this exam tests knowledge of various instruments in Indian Classical Music as well as their classifications. The second section will require ultimate knowledge about tabla's history, gharanas, and baaj. The student will need to write various tihais in different taals. A comparison between different types of compositions will be needed. The student should have knowledge of even more great tabla players. Finally, they will need to know various riyaaz methods and practice techniques. Sylllabus Theory I 1. Difference between taal and theka: in-depth definition of taal. Knowledge of sum, taali, khaali, khand/vibhaag 2. Ability to write tukdas in teentaal and jhaptaal in baraabar (single) and dugun. 3. Definitions aamad, peshkaar, kayda, rela, chalan, gat-paran, mukhda, mohra 4. Comparative analysis of taals of equal maatras deepchandi, jhoomra, ada-chautaal, dhamaar rupak, tevra, pashto teentaal, tilwada, aadhaa, punjabi sooltaal, jhaptaal ektaal, chautaal 5. Relationship between laya and layakari and definitions 6. Principles of classification of Indian musical instruments and knowledge of these instruments Theory II 1. History of tabla from its origins to present times: changes and developments 2. Knowledge of various styles (baaj) in tabla playing: characteristics and comparison 3. Gharanas of tabla and characteristics. Detailed knowledge of any 1 gharana from the following: Delhi, Lukhnow, Punjab 4. Placing and importance of peshkaar, kayda, rela, and gat in tabla solo 5. Ability to write 2 dumdaar and 2 bedum tihais in each of the following taals teentaal, jhaptaal, ada-chautaal 6. Riyaaz methods to maintain balance between daya and baya 7. Biographies of the following tabla players and their contributions Ustad Salaari Khan, Ustad Munir Khan, Pt. Kanthe Maharaj, Ustad Gamey Khan, Ustad Keramatullah Khan, Ustad Inam Ali Khan, Pt. Purshottam Das Pakhwaji, Pt. Madhavrao Algutkar, Pt. Sakharamji Gurav Notes Theory I 1. Difference between taal and theka: in-depth definition of taal. Knowledge of sum, taali, khaali, khand/vibhaag Taal and theka: Click Here Sum - The first maatra of the taal is known as the sum. In other words, the sum is the beginning. In many taals, the sum is a maatra which has the most Bhari/content in relation to other vibhaags (roopak is an exception as it starts with khaali). The main function of the sum is to establish a time of resolution and emphasis. During accompaniment, the sum acts as a point of return, meaning the singer or instrumentalist may improvise their compositions and “join” the theka of the tabla player by converging towards the sum after each awartan. The tabla player may perform multiple bols and even short mohras to show the emphasis and land on the sum. During a solo performance, compositions such as tehais and chakradhaars may be played to arrive at the sum. The theoretical idea is that the first maatra symbolizes a “restart” of the cyclical, repetitive nature of taal and theka, and therefore represents a point of anticipated convergence. Taali/Khaali - A taal can be demonstrated through taali/khaali in order to show the divisions or vibhaag. Each vibhaag of the taal begins either from the Taali or Khaali. Taali is a Sashabda activity which shows the weight or point of emphasis. Taali exhibits the starting-maatra of the Bhari divisions and is represented with a clap during Hasta Kriya. Khaali shows the point of non-emphasis without weight. Khaali can be represented by taking your hand away or striking with the back of your hand instead of the palm during Hasta Kriya. (Many stalwarts argue that the existence of Khaali was assimilated into Taal in order to make the process of measuring the taal easier). One key point about Taali/Khaali is that while two Taali can come together sequentially, two Khaalis are never sequentially attached. In a musical performance, the singer can initiate or direct the taal by presenting the taali/khaali for the tabla player, if needed. Khand/Vibhaag - The divisions formed by the taali and khaali of a taal are called vibhaags. A taal is characterized not only by the number of maatras, but also by the divisions of those maatras. For example, teentaal is divided into 4 divisions of 4 maatras each. There is no 1-maatra division in Hindustani Classical Music. The smallest division is 2 maatras and the largest are 5 maatra divisions. The divisions of the Taal establish the identity of the taal. The various weights, or points of emphasis for the taal, are established through the vibhaags. Some equal-maatra taals may have different vibhaags/khands in order to differentiate between the styles and characteristics of the taals. Different types of taals based on their divisions. Samapadi Taals : All divisions have the same number of maatras (Ex. teentaal, ektaal, chautaal, ada-chautaal) Vishampadi Taals : Divisions are of various numbers of maatras (Ex. Dhamaar) Ardhasamapadi Taals : There are 4 divisions. The first and third divisions have an equal number of maatras. The second and fourth divisions have an equal. For example Jhaptaal is 2+3+2+3 (Ex. Jhaptaal, Deepchandi, Jhoomra) 2. Ability to write tukdas in teentaal and jhaptaal in baraabar (single) and dugun. Write tukdas from learned material. When figuring out a tukda in a particular number of maatras, calculate tukda with a stem of a particular number of maatras and a tihai fitting in the remaining number of maatras. 3. Definitions aamad, peshkaar, kayda, rela, chalan, gat-paran, mukhda, mohra 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. 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 Chalan - Click Here 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. 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. 4. Comparative analysis of taals of equal maatras deepchandi, jhoomra, ada-chautaal, dhamaar rupak, tevra, pashto teentaal, tilwada, aadhaa, punjabi sooltaal, jhaptaal ektaal, chautaal Scroll down to find comparative analysis in Taals 5. Relationship between laya and layakari and definitions Click Here 6. Principles of classification of Indian musical instruments and knowledge of these instruments Click Here Theory II 1. History of tabla from its origins to present times: changes and developments Click Here 2. Knowledge of various styles (baaj) in tabla playing: characteristics and comparison Click Here 3. Gharanas of tabla and characteristics. Detailed knowledge of any 1 gharana from the following: Delhi, Lukhnow, Punjab Click Here 4. Placing and importance of peshkaar, kayda, rela, and gat in tabla solo Peshkaar In general, the chronological order of tabla has been adapted from that of vocal singing. The performance laya starts from vilambit all the way to ati-drut. The body needs a warm-up phase or interval in order to adapt to changes (such as weather, time changes, different behavioral patterns, etc). Peshkaar serves as a “warm-up” for the workout. Tabla in itself is a both psychologically and physically intensive instrument. This “warm-up” is a good exercise to prepare for the tiring kaydas and relas that may be played later. Peshkaar is a culmination point of intelligence, deep thinking, deep theoretical study, Riyaz, bol clarity, and aesthetic all at once, and thus is a valid point of introduction for the solo. Not all the rules that apply to kayda are applicable to peshkaar. For example, almost all bols in tabla can be played within Peshkaar. However, tite is usually not played (unofficial rule). Laya, jati, points of emphasis (wazan), khali/bhari, etc are all kinds of aspects that can be implemented in peshkaar. Although the composition may be similar to kayda, peshkaar has more room for spontaneous improvisation. Unlike a kayda, the distance between maatras has a very big importance in peshkaar. Additionally, a peshkaar theme in the delhi gharana usually starts with dha, while a popular theme in the Farukhabad gharana starts with “dhinSkdadhina” and has gained prestige due to the works of Ut. Ahmed Jaan Thirakwa. Peshkaar should be learned under the guidance of a capable guru. It requires a lot of personal thought, experience, and maturity. Some stalwarts are able to judge a tabla player’s candidacy simply by his peshkaar. A traditional peshkaar should not be memorized, but rather spontaneously “thought of” within the constraints of music and with an organizational, sensible pattern. Kayda 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 riyaz 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 of life 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. Rela While rela is also an expansionary composition such as Kayda and Peshkaar, it is not as expansionary as kayda because of the lesser variety of bols compared to that of a kayda. Bols are often time repeated. Additionally, a “rav” creates a harmonious chain given the fact that a rela has several harmonic syllables and consonant repetition. Common bols used in a rela are “TRKT, DRDR, dhinegene, etc.” The baya also has a prominent place in rela. Oftentimes, work on the baya is spotlighted in order to show the harmony and flow of the rela. Additionally, because of the disruption caused by playing ke and ge in various frequencies on the baya in a rela, a tabla player may replace all bols on the baya with “ge” in the bhari section and “ke” in the khaali section. In relas with majority consonant usage and just a few vowels such as “dha” and “dhin” in between, the vowels are given more weight and volume in order to balance the composition. A rela is usually played after kaydas in a tabla composition and is played in drut laya as the flow created by the heavy and closed consonants requires a fast speed in order to appear appealing. Additionally, the placement of relas is important because they are usually played in the 2nd half of a performance, right after kaydas, and serve as exciting, harmonic, compositions that engage the audience in the form of patterns and speed. Gat A gat is a language of information, meaning it communicates the information of several different elements found in nature. The natural elements (such as waterfall, rain, speed of a ball, flow of a river, movement of a peacock) as well as the perspective of the artist create a composition which gives a unique experience to those avid listeners who can connect with such compositions. One significant point of the gat is that it ends before the sum, and it can end with a weak bol (this means no tihai and no strong “dha” needed to land on sum). All gharanas of the khula baaj have composed several gats, and Delhi has composed fewer gats than other gharanas. A gat is played twice to give an effect and to communicate the meaning, and that is practical given that there is no tihai associated with a gat to give any dramatic conclusion at the end. Few types of gats Tipalli gat- 3 different layas are included Choudhari gat- every bol or phrase is played 4 times each Farad gat- “Farad” is a Persian word, which means “Ekkad” or “once.” Usually a gat is played twice, however a Farad gat played once is effective. Another characteristic is that its arrival on the sum can be unpredictable, but it still retains its aesthetic. Some argue that it is called “Ekkad” because we could not give a response or reply to the initial Gat. Sab-Akaal- There is a pause at different maatras. For example, if teentaal was to be divided in 4 vibhaags, then there would be a “S” at the beginning of the maatra, and the rest of the 1st, 2nd, 3rd, and 4th maatra would be filled with bols, and then again the first section of the 5th maatra would have an “S”. Example: Sab-Akaal gat would start off with “SdhagetitaakdadhaSnadhet….” 5. Ability to write 2 dumdaar and 2 bedum tihais in each of the following taals teentaal, jhaptaal, ada-chautaal Compose tihais in respective taal with language that you have been taught. Bedum tihais have a 1/2 maatra pause or less while dumdaar tihais typically have a bigger pause. Example for thought process: Compose a jhaptaal bedum tihai Experiment with 1/2 maatra pause There are 2 equal pauses: so 1/2 maatra times 2 = 1 maatra, with 9 maatras left over Divide 9 maatras by 3 to get a 3 maatra phrase Compose a tihai with a 3 maatra phase and 1/2 maatra pause 6. Riyaaz methods to maintain balance between daya and baya Click Here 7. Biographies of the following tabla players and their contributions Ustad Salaari Khan, Ustad Munir Khan, Pt. Kanthe Maharaj, Ustad Gamey Khan, Ustad Keramatullah Khan, Ustad Inam Ali Khan, Pt. Purshottam Das Pakhwaji, Pt. Madhavrao Algutkar, Pt. Sakharamji Gurav Click Here (Advanced Content access required) BACK TO TOP

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. phrase + pause + phrase + pause +phrase 4 maatra tihai sample (8 beats per maatra): dhaSTRKTTK dhaSSSdhaSTR KTTKdhaSSS dhaSTRKTTK | dha In this sample, the phrase is 1 maatra while the pause is 1/2 maatra. Because the phrase is played thrice and pause occurs twice, 1 times 3 + 1/2 times 2 = 4 maatras total. Tihais end with a powerful emphasis on the bol "dha". After each phrase, a dha is played to start measuring the interval of the pause. For this reason, the dha is separate from the phrase, and is instead counted as part of the pause itself. The last dha marks the conclusion of the tihai. Usually (but not necessarily), this dha will land on the sum. A tihai of which the last dha lands before the sum is called anagat . 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). 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. Ati-bedum tihai: The "dha" after the phrase is itself the pause, meaning that the pause is only 1/4 maatra. A very short tihai is also called a tiyya. The tihai is a very integral part of tabla playing as every expansionary composition (peshkaar, kayda, rela, etc) end with a tihai to conclude the specific composition/topic. Tihais are even included in select pre-composed compositions such as tukdas, chakradaars, and some gats. Additionally, there is no specific rule that tihais may only be played at the end of a composition. Oftentimes, tabla players will compose tihais of various phrases while presenting peshkaar. Some paltas of peshkaar or kayda may have a small tihai within the palta itself. Tihais are closely related with mathematical complexity as tabla players spontaneously create tihais based on mathematical formulas. The types of pauses employed by tabla players include 1/2 maatra pause, 3/4 maatra pause, 1 maatra pause, 1 and 1/2 maatra pause, 2 maatra pause, etc. How to compose a tihai Know the number of maatras in your taal and start with the phrase that you want to include in the tihai. For example, we are making a tihai in jhaptaal with the phrase "dhatidhage dhatidhage tinakena". Since the phrase is 3 maatras, the same phrase played thrice equals 3 times 3 = 9 maatras, so we still have 1 maatra left to complete one awartan of jhaptaal. Since there are two pauses, 1 maatra divided by 2 means a 0.5 maatra pause. dhatidhage dhatidhage tinakena dhaSdhati dhagedhati dhagetina kenadhaS dhatidhage dhatidhage tinakena | dha Supposed we want to make a 2 awartan tihai instead using the same phrase. With 20 maatras to spare, we can try a 6 maatra phrase, which will leave a 1 maatra pause. Simple play dhatidhage dhatidhage tinakena twice for the phrase. If we wanted to make a tihai with the same phrase in pancham sawari (15 maatras), and if we decided that we wanted a 1.5 maatra pause, we will have 12 maatras left to work with because the pause occurs twice (15 - 1.5(2) = 12). 12 maatras total, divided by 3, gives us a 4 maatra phrase. We can make this 4 maatra phrase as "dhatidhage dhatidhage tinakena dhaSdhaS." It turns out that there is a small tihai included within the phrase as well, but the "dhaSdhaS" at the end is still part of the phrase. As it turns out, any taal of which the maatra count is a number divisible by 3 (such as pancham sawari - 15), we can have a 1.5 maatra pause and still manage to complete it sum-to-sum in one awartan. dhatidhage dhatidhage tinakena dhaSdhaS dhaSSS SSdhati dhagedhati dhagetina kenadhaS dhaSdhaS SSSS dhatidhage dhatidhage tinakena dhaSdhaS | dha While there are many more formulas and tricks to creating longer tihais, all tihais rely upon 3 equal phrases and 2 equal pauses. BACK TO TOP

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Gat-paran A gat-paran is a composition with open, prominent bols. A gat-paran is a paran that uses the language of a gat. Definition of gat: Click Here Definition of paran: Click Here BACK TO TOP