5. M adhyama pURNA The Madhyama Purna tabla exam asks for deeper knowledge on vocal styles, history of tabla, gharana, and accompaniment. The student should be able to write compositions in various layas such as aad, kuwaad, and biaad. The exam includes biographies of various great tabla players. The student's understanding of taal, as well as an analysis between peshkaar, kayda, and rela, will have to be reinforced. Sylllabus Theory 1. Various styles in vocal music: Dhrupad, Dhamaar, Ghazal, Tappa 2. History of tabla from its origins to present times: changes and developments 3. Knowledge of all gharanas of tabla and their baaj 4. Knowledge about accompaniment to vocal, instrumental, and dance with associated guidelines and rules 5. Ability to write thekas for teentaal, jhaptaal, and rupak in each of the following layas aad, kuwaad, biaad 6. Definitions aamad, tripalli, chaupalli, gat kayda, kamaali chakradaar 7. Biographies of the following tabla players and their contributions Ustad Ahmedjaan Thirakhwa, Ustad Amir Hussain Khan Saab, Ustad Alla Rakha, Ustad Habibuddin Khan, Pandit Samta Prasad, Ustad Afaq Hussain Khan, Swami Paagaldasji, Raja Chatrapati Singh 8. Essay on taal and tabla 9. Detailed comparative analysis of peshkaar, kayda, and rela Notes 1. Various styles in vocal music: Dhrupad, Dhamaar, Ghazal, Tappa Click Here 2. History of tabla from its origins to present times: changes and developments Click Here 3. Knowledge of all gharanas of tabla and their baaj Click Here 4. Knowledge about accompaniment to vocal, instrumental, and dance with associated guidelines and rules Click Here 5. Ability to write thekas for teentaal, jhaptaal, and rupak in each of the following layas aad, kuwaad, biaad Try to write the theka in just one awartan: start the beginning maatras in baraabar (single) laya and then fill the awartan with the desired laya. How to write fractional layakari of any taal When performing layakari, complex fractional forms can be used. Double 2/1 (Duppat) Triple 3/1 (Tippat) Quadruple 4/1 (Chaupat) 3/4 (Poundpat) 4/3 (Inverse of Poundpat) 5/4 (Kuwaad) 4/5 (inverse of Kuwaad) 3/2 (Aad) 2/3 (Inverse of Aad) 7/4 (Biaad) 4/7 (Inverse of Biaad) *The above method of referring to layas with fractions is adopted because it is easier to understand the speed in relation to the value of the fraction (as taught in school). For example, if the fraction is 7/4, it is faster than baraabar laya because 7/4 is greater than 1. If the fraction is 3/4 (Poundpat), then it is slower than baraabar laya because 3/4 is less than 1. The above method of referring to layas in terms of fractions smaller than or larger than 1 is found to be efficient because it directly indicates if the speed is slower or faster than baraabar. Think of the respective fractions as "multipliers". if the fraction is less than 1, it goes slower than baraabar Ex. (2/3) if the fraction is more than 1, it goes faster than baraabar Ex. (3/2) In order to master layakari in any taal, understanding the layakari with mathematical formulas is essential. For example, let’s try writing jhaptaal in kuwaad (5/4) laya. Step 1: The numerator of the fraction (5) represents the number of beats in each maatra while writing kuwaad. Step 2: The denominator minus 1 (3) represents the number of pauses to leave after each bol while writing Kuwaad. Step 3: Write the kuwaad of jhaptaal with 5 beats per maatra and 3 beats of pauses after each bol. → DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS Because writing the kuwaad of jhaptaal took 8 maatras, we can fill the first two maatras with pauses to complete one awartan of jhaptaal (10 maatras). → SSSSS SSSSS DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS We can use those steps to write the layakari of any taal in any laya. The above method can be used for writing layakari so that it fits within one awartan (sum-to-sum). However, we can also write the kuwaad of jhaptaal 5 times without the two maatras of pause in the beginning so that it fits in 4 awartaans of jhaptaal (40 maatras). We were able to find out that doing the kuwaad of jhaptaal takes 8 maatras by practically writing and finding out. But there is also another way of finding out how many maatras the layakari of a particular taal will be. Simply flip the numerator and denominator and multiply that by the number of maatras in the taal. Ex. The Kuwaad of Jhaptaal will be 8 maatras long The inverse of the Kuwaad fraction (5/4) is 4/5 4/5 times 10 maatras in jhaptaal is 8 Ex. The Aad of teentaal will be 10 and 2/3 maatras The inverse of Aad fraction (3/2) is 2/3 2/3 times 16 maatras in teentaal is 10 and 2/3 6. Definitions aamad, tripalli, chaupalli, gat kayda, kamaali chakradaar Aamad - Aamad means "arrival". In general, a composition which gives a sense or intuition of arriving on the sum is aamad. In dance music, the introduction of rhythmic bols spoken at the beginning of a Kathak performance is called Aamad. It is an entry movement that traces itself back to the Mughal era. It is known to evoke a sense of grandeur and represents taking command of the area. In other words, it is a stylized way of taking an entry during a Kathak performance. Aamad corresponds to “alaap” or “peshkaar” in Indian music. The structure of an aamad is a body followed by a tehai. The term “aamad” was utilized after the Mughal era, before which presentations would start with an uthaan. Tripalli - "Tri" + "palli" implies 3 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a tripalli, not only are there 3 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. Chaupalli - "Chau" + "palli" implies 4 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a chaupalli, not only are there 4 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. Gat-Kayda - A gat-kayda is a composition which uses the expansion rules of a kayda but uses the language of a gat. A gat-kayda utilizes the chaal or flow of a gat. It is found in Lucknow and Farrukhabad Gharanas. Although it is an expansionary composition, the extent to which it may be expanded is usually less than a regular kayda because the bols used in this composition are heavy bols found in gats. Kamaali Chakradaar - The word "kamaal" means amazing or skillful. Similarly, a kamaali chakradaar is skillful and even more intricate than a farmaishi chakradaar. It involves unique mathematical calculations and patterns. A kamaali chakradaar incorporates 27 "dhas", of which the 1st dha of the 1st section lands on the sum, the 14th dha of the 2nd section lands on the sum, and the 27th and last dha of the 3rd section lands on the sum. Each of the 3 tihais or "chakras" within a kamaali chakradaar requires 9 "dhas". In other words, there are 3 sections. There are 3 tihais within each section. There are 3 "dhas" in each tihai. The 1st dha of the 1st tihai of the 1st section lands on the sum. The 2nd dha of the 2nd tihai of the 2nd section lands on the sum. The 3rd dha of the 3rd tihai of the 3rd section lands on the sum. 7. Biographies of the following tabla players and their contributions Ustad Ahmedjaan Thirakhwa, Ustad Amir Hussain Khan Saab, Ustad Alla Rakha, Ustad Habibuddin Khan, Pandit Samta Prasad, Ustad Afaq Hussain Khan, Swami Paagaldasji, Raja Chatrapati Singh Click Here 8. Essay on taal and tabla Click Here 9. Detailed comparative analysis of peshkaar, kayda, and rela Peshkaar - A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. More Info Kayda - An expansionary composition with a balance of consonant and vowel phrases which begin and ends with a vowel phrase is called a kayda. Kaydas have khaali and bhari components and divisions. The divisions of a kayda may either be symmetrical to the taal in which the kayda is established or may fall in odd places. More Info Rela - An expansionary composition with begins with a vowel but ends with a consonant phrase. A rela has rapid bols and is played in drut laya, helping to create a harmonious chain or musical flow. Many relas are abundant in consonants. More Info *In general, compositions become less improvisationary from peshkaar to kayda to rela as the speed increases and the inclusion of heavy consonant phrases increases. All 3 compositions, peshkaar, kayda, and rela are still expansionary because we can create variations of the mukh (theme). *Difference between improvisation and expansion: While expansion implies that we can create variations and paltas of a particular composition, improvisation means that the player has liberty to take maximum freedom according to the rules of Indian Classical Music to show their individual thought process. Peshkaar is the most improvisationary because not only is it in vilambit laya (which allows for more time to fill the maatras), but the player may incorporate different types of bols while expanding. On the contrary, expanding a kayda requires the use of the only the bolds found in the mukh of the kayda. BACK TO TOP

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?

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TUNING AND VARIOUS SCALES Tuning the Tabla Tuning is a difficult skill and requires precise identification of swars with a good listening ability. The swar is provided continuously on an instrument such as the harmonium. Today, various apps and nagmas are also used to provide the swar. Using this swar as the guideline, the tabla player adjusts the tabla to match the intended swar. The tabla ideally should not be placed on the ring while tuning as it requires frequent rotation The gatthas must be adjusted to reach the intended sur or scale. Hammering downwards creates pressure and tension, raising the sur. Lifting upwards releases tension which causes the sur to decrease. Tune the ghars, or houses on the gajra, two at a time in accordance to a sequence in order to reach the intended swar. This helps to increase or lower the tension around the pudi and helps to tune the tabla closest to the intended swar. There are 16 ghars on the gajra. Label them 1 through 16. The sequence of tuning the ghars is to start with 1, then the one directly opposite to that (9), then rotate the tabla 5 ghars, (14), then the one directly opposite to that (6), and so on. This, way we not only tune all ghars but also do it in pairs of opposite ghars, which helps maintain the balance efficiently. 1, 9, 14, 6, 11, 3, 8, 16, 5, 13, 2, 10, 15, 7, 12, 4 Afterwards, with the index finger, play a strong “na” on the chaati to ensure that it is in tune with the intended swar, rotating the tabla, and repeating after every ghar. If necessary, lightly hammer the gatthe to increase or decrease tension in bigger intervals. If the tabla’s swar sounds higher, play a “thap” with the bottom of the palm to decrease the swar slightly. Bigger interval changes occur on the gatthe, while fine tuning is done on the gajra. At the end, play an open na on the tabla to confirm that the tabla is tuned to the required swar, making sure there is minimal distortion in the sound. If more adjustment is still required gently bump the tabla on the floor, this helps the wadis to slightly loosen from the gajra in order to adjust the tabla. Various Scales C Safed 1 White 1 D safed 2 White 2 E safed 3 White 3 F# kali 3 Black 3 A♭ kali 4 Black 4 B♭ kali 5 Black 5 C# Kali 1 Black 1 D# kali 2 Black 2 F safed 4 White 4 G safed 5 White 5 A safed 6 White 6 B Safed 7 White 7 Move the cursor over various scales to learn the Indian Classical Music equivalent (desktop only). Tabla players, instrumentalists, and vocal singers have preferred scales that they perform in. The make of the tabla and whether its pudi is small or big greatly reflects the range of the scale to which it could be tuned to. Below is a slideshow which gives different diameters of tabla along with the associated surs and common uses in Indian Classical Music. Diameter: 5" Sur: F, F# "Tip tabla" used for light music, violin, flute, and sometimes harmonium accompaniment. BACK TO TOP

Complete explanations Prarambhik to Visharad Pratham Point by point explanations for all segments of the "theory" portion of tabla exams. Notes have been compiled from various sources of tabla literature, including Pt. Arvind Mulgoankarji's "Tabla" Book, online archives of the National Centre for the Performing Arts Tabla Seminar, and more. All respective gurus, stalwarts, and authors are thanked for their musical gifts and blessings. Visit Bibliography . Some explanations may contain links to specific pages regarding the topic, and the specific page may contain extra details or additional information. Because exams from multiple levels may link to the same page, the student should be able to memorize and explain the content to the extent of their current examination level, whether it is introductory, intermediate, or advanced.

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

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

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.

laya and layakari Laya Laya means tempo. It is the distance between two maatras. As the distance decreases, laya increases and vice versa. Laya also means destruction - when you play the second matra the time interval of the first maatra is destroyed. Every aspect of music is dependent on the laya, and laya is a universal theme (ex. Planets revolve at a specific speed). There are three main types of laya: Madhya laya - Is the medium tempo, approximately equal to heart rate, 80 bpm. Vilambit laya- Is the slow tempo played at approximately ½ of the speed of the madhya laya, 40 bpm (bada khayal is performed in vilambit). Ektaal, jhoomra, teentaal are taals than can be appropriately played in vilambit. Drut laya - Is the 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. Normally performances begin with vilambit laya, then go to madhya laya, and end in drut or ati-drut laya. (Ex. peshkaar, kayda, rela, tukdas) Baraabar laya/Thaa(ठाह), dugun (2 maatras in 1), tigun (3 in 1), chaugun (4 in 1) 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. Relation between Laya and Layakari Laya and layakari are closely related ideas. Whenever we create and perform a specific layakari, we require a specific laya. Music can’t simply jump from 102 bpm to 22 bpm to 15 bpm during a theka or kayda, for example. When performing, the tabla composition and lehra will be of a particular laya, and the laya will generally increase throughout the performance. The word “layakari” is “laya” + “kari” meaning “to do” laya. Whole number layakaris: Dugun, Tigun, Chougun. Fractional layakaris: Kuwaad laya (5 maatras in the span of 4 maatras - 1.25), Aad laya (3 maatras in the span of two maatras - 1.5), Biad laya (7 maatras in the span of 4 maatras - 1.75), Navamgun laya (9 maatras in the span of 4 maatras - 2.25), Ekadashguna laya (11 maatras in 4 maatras - 2.75). How to write fractional layakari of any taal Laya is the distance between two maatras and the repetition of the interval over multiple maatras in a sequence. During accompaniment or in a solo, the original laya is kept the same, and the number of beats in the theka can be increased or decreased, and this process describes performing layakari during a musical performance. (Ex. going from 4 beats/maatra to 6/8/12 beats/maatra to complement the main artist’s focus. However we should not do layakari or play too much where it’s not appropriate). When performing layakari, complex fractional forms can be used. Double 2/1 (Duppat) Triple 3/1 (Tippat) Quadruple 4/1 (Chaupat) 3/4 (Poundpat) 4/3 (Inverse of Poundpat) 5/4 (Kuwaad) 4/5 (Inverse of Kuwaad) 3/2 (Aad) 2/3 (Inverse of Aad) 7/4 (Biaad) 4/7 (Inverse of Biaad) *The above method of referring to layas with fractions is adopted because it is easier to understand the speed in relation to the value of the fraction (as taught in school). For example, if the fraction is 7/4, it is faster than baraabar laya because 7/4 is greater than 1. If the fraction is 3/4 (Poundpat), then it is slower than baraabar laya because 3/4 is less than 1. The above method of referring to layas in terms of fractions smaller than or larger than 1 is found to be efficient because it directly indicates if the speed is slower or faster than baraabar. Think of the respective fractions as "multipliers". if the fraction is less than 1, it goes slower than baraabar Ex. (2/3) if the fraction is more than 1, it goes faster than baraabar Ex. (3/2) In order to master layakari in any taal, understanding the layakari with mathematical formulas is essential. For example, let’s try writing jhaptaal in kuwaad (5/4) laya. Step 1: The numerator of the fraction (5) represents the number of beats in each maatra while writing kuwaad. Step 2: The denominator minus 1 (3) represents the number of pauses to leave after each bol while writing kuwaad. Step 3: Write the kuwaad of jhaptaal with 5 beats per maatra and 3 beats of pauses after each bol. → DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS Because writing the kuwaad of jhaptaal took 8 maatras, we can fill the first two maatras with pauses to complete one awartan of jhaptaal (10 maatras). → SSSSS SSSSS DhinSSSNa SSSDhiS SSDhiSS SNaSSS TinSSSNa SSSDhiS SSDhiSS SNaSSS We can use those steps to write the layakari of any taal in any laya. The above method can be used for writing layakari so that it fits within one awartan (sum-to-sum). However, we can also write the kuwaad of jhaptaal 5 times without the two maatras of pause in the beginning so that it fits in 4 awartans of jhaptaal (40 maatras). We were able to find out that doing the kuwaad of jhaptaal takes 8 maatras by practically writing and finding out. But there is also another way of finding out how many maatras the layakari of a particular taal will be. Simply flip the numerator and denominator and multiply that by the number of maatras in the taal. Ex. The juwaad of jhaptaal will be 8 maatras long The inverse of kuwaad fraction (5/4) is 4/5 4/5 times 10 maatras in jhaptaal is 8 Ex. The aad of teentaal will be 10 and 2/3 maatras long The inverse of aad fraction (3/2) is 2/3 2/3 times 16 maatras in teentaal is 10 and 2/3 Jati The concept of layakari can be demonstrated in jati as well. Jati indicates creating a distribution of syllables in a particular maatra in various ways. In general, a maatra is divided in 4 syllables, but we can divide it in other whole numbers as well. Tisra jati: 3 beats in 1 Chatushra jati: 4 beats in 1 Khand jati: 5 beats in 1 Mishra jati: 7 beats in 1 Sankirna jati: 9 beats in 1 Divyasankirna jati: 11 beats in 1 *Note: multiples are also allowed. Example: tisra jati can be 6 beats in 1, mishra jati can be 14 beats in 1 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

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

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