Search Results

Give Us Your Feedback Rate Us Poor Fair Good Very good Excellent Rate Us Send Feedback Thanks for submitting! Contact Us Any suggestions, corrections, or compliments are welcome.

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

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. Refer to kayda in order to review some key points regarding the process of creating paltas of a kayda. BACK TO TOP

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 tihai. The term “aamad” was utilized after the Mughal era, before which presentations would start with an uthaan. BACK TO TOP

Notation systems Throughout time, the development of notation systems has allowed musical compositions to be expressed in writing according to their grammar. This process has allowed people to store compositions and communicate them so that there was no content loss even after an extended amount of time. There are two main notations utilized while writing down tabla compositions: the Pt. Bhatkhande notation system (created by Pt. Vishnu Narayan Bhatkhande) and Pt. Paluskar notation system (created by Pt. Vishnu Digambar Paluskar). Pt. Bhatkhande Notation System Sum - an "x" is used below the syllable. Taali - the number order of the taali is written below the syllable. For example, if a given syllable occurs at the 3rd taali of the taal, put a 3 there. Khaali - an "o" is used below the syllable. Vibhaag - The symbol " | " is used after every vibhaag -If there is 1 syllable in a given maatra, such as "dha," then do not put any symbol below the maatra. -If there are multiple syllables in a given maatra, such as "dhatitedha," then put an upward curve below the maatra. -A pause is noted with an "S". Examples in Pt. Bhatkhande notation system: Pt. Paluskar Notation System Sum - a "1" is used below the syllable. Taali - the number of the maatra is written below the syllable. For example, if the taali occurs at the 5th maatra, then put a 5 there. Khaali - a "+" is used below the syllable. Vibhaag - The symbol " | " is used after the completion of the entire taal. It is not used after each vibhaag. -A pause is noted with an "S". -If there is 1 syllable in a given maatra, such as "dha," then put a horizontal line " _____ " below the maatra. -If there are 2 syllables in a given maatra, such as "dhage," then put 2 tiny circles " ○ " below the maatra, 1 for each syllable. -If there are 3 syllables in a given maatra, such as "takite," then put 3 squiggly lines " ∽ " below the maatra, 1 for each syllable. -If there are 4 syllables in a given maatra, such as "tinakena," then put 4 upward curves " ⌣ " below the maatra, 1 for each syllable. -If there are 6 syllables in a given maatra, such as "dhagetinakena," then put 6 double squiggly lines " ≈ " below the maatra, 1 for each syllable. -If there are 8 syllables in a given maatra, such as "dhatidhagetinakena," then put 8 double upward curves " ⋓ " (a little better looking than that lol) below the maatra, 1 for each syllable. -A pause is noted with an "S". Examples: Comparison between both notation systems Pt. Bhatkhande notation system provides us information about the position of the taali, khaali, and vibhaag of the taal. However, if there are multiple syllables in a maatras, we always put an upward curve below it, and we can't understand the jati of the maatra or how the maatra was divided. For example, there is no way to distinguish between writing a tisra jati 1/6 maatra bol and a chatushra jati 1/8 maatra bol. We are also unable to easily deduce which maatra a particular taali falls on because the number order of the taali is written, not the number of the maatra on which the taali falls on. Pt. Paluskar notation system also provides us information about the position of the taali and khaali, but does not indicate the vibhaag of the taal. However, we can more accurately communciate the value of multiple syllables within a maatra as per its intricate indication system. Still, there is no provision for the 1/5th or 1/7th maatra. Pt. Bhatkhande notation system is the system of choice for long compositions because it is faster to write in and we don't have to worry about indicating the maatra-value of each individual syllable like Pt. Paluskar notation system. All types of jatis may be expressed in Pt. Bhatkhande notation system. On the other hand, Pt. Paluskar notation system is more useful for communicating the jati of various phrases and smaller concepts such as tigun and chaugun of various taals like teentaal and ektaal. However, it may take more time. Both systems have their advantages and disadvantages. *For exams: While writing compositions, try to include the maatra count, which maatras the taali occurs on, which maatras the khaali occurs on, and the vibhaag of the taal. This helps to organize the notation and symbols in the actual awartan. Examples in both notation systems: BACK TO TOP

TYPES OF COMPOSITIONS There are many types of tabla compositions, and such compositions have been composed considering the different requirements or unique ideas during different time periods. The types of compositions played, and the style of playing various compositions, varies from gharana to gharana. We can divide all of such compositions into two big categories: fixed compositions and expansionary compositions. Expansionary Compositions Expansionary (expandable) compositions are those which may be expanded upon through various paltas or variations in a specific manner. This expansion may be done in both a pre-planned mannner (such as memorizing variations and patterns) or in a spontaneous, live, improvised manner according to one's musical thought process. Expansionary compositions such as relas or kaydas often times have specific rules or guidelines, such as only including the bols found in the mukh or altering the next palta based on the pattern of the previous one. Expansionary compositions primarily include peshkaar, kayda, rela, gat-kayda, ladi, etc. Fixed / Pre-Composed Compositions A fixed composition implies that the composition will not be expanded upon through paltas or variations. Often times, composers will compose a certain experience within a given laya and with suitable bols and phrases. Compositions such as gats may take a long time to compose, and can't be designed impromptu. Fixed compositions are mostly played near the end of a performance and may also show the significance of certain phrases through emphasis or a specific playing manner. Fixed compositions primarily include tukdas, gats, gat-tukdas, chakradaars, etc. Types of compositions, in alphabetical order Click on the composition to learn more Aamad Chakradaar (includes farmaishi chakradaar and kamaali chakradaar) Chalan Gat Gat-Kayda Gat-Paran Gat-Tukda Kayda Kissm Ladi Laggi Mohra Mukhda Palta Paran Peshkaar Rou Rela Theka Tihai (includes bedum tihai and dumdaar tihai) Tukda Uthaan BACK TO TOP

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

Tabla Legacy stimulates knowledge and understanding of tabla, one of the most versatile instruments in Indian Classical Music. Students can learn core theoretical knowledge helping them in exams established by institutions such as Akhil Bharatiya Gandharva Mahavidyalaya and others.  structured tabla database comprehensive and Categorized Tabla Legacy stimulates knowledge and understanding of tabla, one of the most versatile instruments in Indian Classical Music. Students can review significant components of the theoretical aspects of tabla, which will also help them in exams established by institutions such as Akhil Bharatiya Gandharva Mahavidyalaya and others. Tabla Legacy supports levels from Prarambhik (Introductory) to Visharad Purna (Bachelor's Part I). Tabla Legacy hopes to stimulate a learning process by providing information that can be analyzed for tabla examinations and personal development. Tabla Visharad Purna notes for theory-based knowledge are available as part of Advanced Content . HOW TO USE : Click on your desired exam level in the "THEORY" section. Alternatively, visit one of the several pages under "FUNDAMENTALS" in order to grasp the most essential information about tabla. Advanced Content is available for purchase. WHAT IS TABLA?

TABLA STRUCTURE tabla legacy NOTES A "tabla" comprises of the daya and baya. The entire drumhead, including the gajra, is called the pudi. Tabla players play the daya with their dominant hand, and the baya with their non-dominant hand. Daya The daya's body is hollow and made of wood. A separate daya can be made for each swar, or musical note. For example, C sharp and F dayas have different diameters and dimensions according to their physical characteristics. The tabla pudi is usually made of goat skin. The incorporation of shahi allows for a greater scope of resonance. Baya In ancient times, the baya used to be made out of clay, but is now made out of various types of metals such as steel or copper. Both the daya and baya can be tuned to a particular frequency. The gatthe may be pushed down or pulled up to increase or decrease the pitch, respectively. For smaller increments of change, a player may hit the gajra with a hammer downwards or upwards, increasing or decreasing the pitch, respectively. Hitting downwards increases the tension of the pudi while hitting upwards eases the tension. Tuning and Various Scales BACK TO TOP

CHALAN A chalan is a catchy and bouncy theme, and this theme is later elaborated into a connecting rela matching the same pattern or flow. In general, it is similar in structure to kayda, however it does not always establish rules for development. Instead, a chalan is a movement (“Chalna'' in hindi means to move). It includes a variety of bols (gat-like bols). A clear theme can be experienced in a chalan. Chalan is a popular concept from the Farrukhabad Gharana. In solo playing, some Gharanas start with Uthaan, but in Farrukhabad Gharana, the solo performance is oftentimes started with chalan. Examples: Timestamp 0:55 BACK TO TOP

vocal styles Dhrupad - Dhrupad is an ancient, powerful, and extremely revered form of vocal classical music. In modern times, its quite rare to be able to listen to pure dhrupad in the Sanskrit language. Although we are unable to make definite remarks regarding the origin of dhrupad, we know for sure that it is one of the oldest forms of singing in Indian Classical Music. It was a very popular form 500-600 years ago, and all musicians in Akbar's court were dhrupad singers. Tansen was a jewel amongst all dhrupad vocalists, and was the supreme disciple of Swami Haridas. Dhrupad is even more comprehensive and powerful compared to forms such as khayal, with dhrupad's 4 main parts being asthayi, antara, sanchari, and abhogi, each part usually having 3-4 verses each. Dhrupad is a relatively serious and masculine vocal form of music, with a predominance of moods such as veer rasa (heroic mood), shringar rasa (erotic mood), shanta rasa (mood of tranquility). The language is of high quality and meaning. Dhrupad is sung in taals such as chautaal, soolphak, jhampa, tevra, brahma, rudra, etc. There is no "Tan" activity in dhrupad, and dhrupad was presented with various forms of gamak, layakari, bol-tan, etc. http://dhrupad.org/about/ Khayal - Khayal is a persian word. Sultan Hussein Turki (ट) established khayal gayaki. The singer, using creativity, presents different swars in vilambit laya. Khayal did not always have the same reputation and status that it enjoys today. After dhrupad/dhamaar, khayal became very prominent in classical singing. Artists Sadarang and Adarang, vocalists with an exquisite degree of talent, composed several compositions in khayal gayaki under the emperor Muhammad Shah's court. Their work helped to popularize and expand the form of singing. Khayal gayaki can be performed in tilwada, teentaal, ektaal, jhoomra, ada-chautaal, and roopak. The shringar rasa is upheld to a great extent, and components of compositions often include emphasis, variety of words, purity, etc. Unlike dhrupad, there are no laya restrictions. It includes two main parts: the asthayi and antara. The vocalist is expected to adhere closely to the rules of the raag. The vocalist enjoys greater independence (khayal = thought) and also explores improvisation in the predominant alaap portion. Bada khayal is the vilambit portion of khayal, after which chhota khayal is presented in a faster speed. Khayal, today, is regarded as a rich, enjoyable, and reputable form of singing. https://en.wikipedia.org/wiki/Khyal Thumri - Thumri originated from the presentation idea of combining dance and singing at the same time. Lucknow Nawab Wajid Ali (under pen name / singer name Akhtar Pia) composed many thumris. Thumri is a very romantic form of singing and has two parts: sthaai and antara. Many times, in thumri, the love between Radha and Krishna is expressed, oftentimes including the separation of both lovers. Thumri concludes by playing laggi at a very fast speed. It is normally sung in piloo, khafi, and khamaaj. It is also a shringar rasa predominant form. It is sung in taal punjabi (a version of teentaal), deepchandi, addha, and keherwa, in madhya laya. Although in the past the elite class did not consider thumri to be a primary form of singing, it is undoubtedly a very difficult and praiseworthy style. Lucknow and Benares are well known cities for thumri, yet Uttar Pradesh remains the highlight for the best thumri. https://www.darbar.org/article/an-introduction-to-light-classical-thumri-dadra-and-other-styles https://en.wikipedia.org/wiki/Thumri Bhajan - Appreciation of God and stories of God’s miracles, some spiritual advice, and devotional composition are included in bhajans. Many spectacular poets and saints from India have composed bhajans for spiritual purposes and bhakti. The importance of this style is that it can be done alone or in a group singing together, in which devotion towards God is expressed. Instruments used in accompanying bhajan are pakhawaaj, tabla, and tal. The most common theka used in accompanying bhajan is the bhajani theka. Various abhanga are concluded by playing a tod-tihai (small tihai). Example: dhinSSta SkedhinS taSkedhin StaSke | dhin. Two albums of Pt. Bhimsen Joshi, Abhang Waani and Sant Waani, have become very popular. https://www.darbar.org/article/an-introduction-to-bhajan-hindu-devotional-song https://en.wikipedia.org/wiki/Bhajan Ghazal - Ghazal is a vocal form sung either in Parsi or Urdu language, in taals such as pashto, deepchandi, etc. Ghazal's predominant rasa is the shringar rasa. Themes such as the calling of love, separation sorrow, etc are found in ghazal compositions. Ghazal lyrics are often aesthetic, delicate, pleasing, and full of rich literary content and meaning. Several verses are labeled as "antara," and all antaras are sung in a similar fashion. Sung in ragas of light nature such as kafi, khamaj, and pilu, ghazal exemplifies and places importance on lyrical meaning, linguistics, and emotions such as love. https://en.wikipedia.org/wiki/Ghazal https://poets.org/glossary/ghazal Taraana - Another singing style similar to khayal gayaki. It is said that Amir Khusro invented taraana in the 13th century. The words sung have no meaning (tadim, tadare, tundir, derena, etc). In taraana, the two parts are asthayi and antara. Taans are also used in taraana. At the end of taraana, the speed is increased and the bandish is sung again. The same bandish is presented in different layas as the speed increases. Although it has meaningless words, it can give the essence of drut laya (which is the main characteristic of taraana). In drut laya, the taraana is improvised in a similar fashion to sitar playing. It was created to stop the boundary of words as making a song out of words requires meaning and the words need to have a specific syllable count. In taraana, there are various phrases with different syllable counts, which can be organized in a multitude of ways. http://www.swarmanttra.com/vocal/types-of-vocal/tarana/ Tappa - Compared to dhrupad and khayal, tappa is a brief and restless type of vocal music. There is a lesser number of words. The two parts of tappa are the asthayi and antara, and the taals employed in tappa are the ones used by khayal singers. It's a light form with a predominance of shringar rasa, sung in raags such as kafi, jhinjhoti, khamaj, pilu, barwa, bhairavi, etc. This form was popularized by Shouri Miyan, and the origin seems to be Punjabi as this form oftentimes utilizes Punjabi language words. Tappa singers utilize a fast tempo and attempt to present an attracting and fascinating experience. The tappa may be sung in a laya that is vilambit or madhya, yet the pronunciation of bols in tappa is fast, rapid, and surprising. https://en.wikipedia.org/wiki/Tappa https://www.swarganga.org/articles/details.php?id=2 Chaturanga , trivat , and hori are also amongst the main styles of vocal singing in Hindustani Classical. BACK TO TOP

riyaaz Tabla is an instrument that demands hard-work and diligence, and several veterans have given input on the various types of effective riyaaz. One must learn the difference between “revision” and “riyaaz.” Many students practice for 1-2 hours daily, but only play what has been taught a few times, or try to cover a lot of material in that time period. However, in order to achieve a balance and flow between the dayan and bayan, constant repetition of the composition, whether it be a short composition such as gat or tukda or an expansionary composition such as the mukh of a kayda, is necessary. There are two main strategies for acquiring a flow between the daya and baya. Start off from a slower laya and increase the laya in increments to a faster laya, keeping the tonal quality pure throughout. Start off with clear and crisp notes and then automatically loosen the wrist while increasing speeds to prevent your hands from being stuck as you progress. Gradually increase the crispness and sharpness of your bols as you progress from a slower laya to a faster laya. No matter what approach, the effect is the same: a connection and synchronization between the left and right hand, as well as a smooth flow with the laya on mark with the lehra, with minimal musical distortion. We must divide such an extensive topic into two subtopics, Practical Riyaaz and Theoretical Riyaaz. Practical Riyaaz Nikaas - the way that sound is generated. Akshar Sadhana - treat each bol as significant. The Clarity of Bols - tonal quality Dexterity - the ease of playing smoothly Stamina - prolonged playing in a diverse range of layas Theoretical Riyaaz Detailed Understanding of Solo Playing Knowledge of Gharana Theory of Taal One of the most important aspects of understanding how to do riyaaz is to understand which compositions played for a very long amount of time are beneficial for “forming” the tabla player’s hand. The introductory kaydas gifted to us by the Delhi gharana are the mantras of tabla. A mantra, in yoga and ancient Indian culture, is a phrase that is repeated constantly throughout a lifetime, and which leads to spiritual progress and advancement towards God. Similarly, if “mantra” kaydas such as “dha dha tite dha dha tin na,” “dhagetite kdadhikite dhagenage tinakena,” “dhatite dhatite dhadhatite dhagetinakena,” etc are played for a long time, other kaydas that may be taught in class are automatically cleared. The balance between the daya and bayan is improved because such kaydas do several different finger movements and exercises on the tabla, such as the horizontal movement “tina” or the vertical stretch of the index and middle fingers through “tite.” Other things that also help restore the balance between daya and baya are slowing down the speed to a comfortable laya. Optimally, this should be a laya that is not too fast (which can make it hard to concentrate and give importance to each phrase) nor too slow. That being said, it is important that compositions such as kaydas can be played in various layas, and tempos (single/double/quadruple if necessary) in order to show grasp of layakari. During riyaaz, the clarity of bols, due importance to each bol, volume of tabla, flow/gap between bols in accordance with laya, and ease of playing are some of the things that must be investigated. Some Methods of Intense Practice Wearing weights/ heavy bangles on wrists and playing in order to improve strength Chilla: constant playing for several hours continuously for several consecutive days, often described as torture but improves stamina significantly. Can provide energy for months. Some legendary Ustads/Pandits used to practice on tablas with low sound or even a wooden platform in order to improve tonal quality and volume. Putting a cloth on tabla and then practicing, helps for volume. All forms of such intense practices have advantages and disadvantages, short term gains and long term losses. For this reason, a variety of different practices is needed in order to be an all-rounded tabla player. BACK TO TOP