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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

ROU A rou signifies the presentation of a particular chalan followed by a suitable rela. After a chalan is established, the introduction of a rela based on the syllables of the chalan, with a similar structure of naads and tones, and which rejuvenates the experience of the original chalan, is referred to as rou. While an ordinary rela is presented as a single-double composition similar to a kayda, a rou utilizes instead a chalan to outline a structure and flow, and then transitions into a rela with the same structure and flow. There exist less restrictions while expanding the chalan into a rela and the artist attempts to slowly "merge" small phrases from the rela into a chalan to transition smoothly. The various weights of a chalan are seen in the rela, even though the rela may have more consonant usage such as "TRKT". Example (Teentaal): chalan: dhaSSS SSdhinS SSSS dhaSSS (similar to punjabi theka or addha taal) rela: dhaTRKTTK dhinTRKTTK dhaTRKT (dha,dhin, dha align with the bols of chalan) Example (Jhaptaal): chalan: dhagenadha getrakedhi nedhagena dhagetrake tinakena +khaali rela: dhaSTRKTdhaS TRKTTKTR KTdhaSTRKT dhaSTRKTTK tinSTRKTTK +khaali BACK TO TOP

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. 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 tehai and no strong “dha” needed to land on sum). All gharanas of the khula baaj have composed several gats, and Delhi has composed fewers 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 tehai associated with a gat to give any dramatic conclusion at the end. There are multiple characteristics found in gats A gat is completed before the sum and therefore may end with a weak bol, not necessarily "dha" Various elements of poems can appear in gats as gats display the artistic maturity and musical understanding of the composer Specific characteristics of various gats have created distinctive forms and different types of gats While khula baaj Gharanas have created several gats, Delhi has composed fewer gats Many gats are played in the single laya (baraabar) and double laya Pandit Arvind Mulgaonkarji reveals 16 types of gats in his book "Tabla". Here are some of them. 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….” Examples: Sab-Akaal Gat Choudhari Gat BACK TO TOP

3. PraVESHIKA Purna The Praveshika Purna tabla exam incorporate a deeper level of understanding for various definitions and compositions. In addition to the practical portion, students will see a written exam for the first time to test their theoretical knowledge. The written exam will include bols/phrases, compositions, and notation systems. Sylllabus Theory 1. Knowledge of Vilambit, Madhya, and Drut Laya 2. Bols/Phrases used in tabla Bols produced only on Daya Bols produced only on Baya Bols produced on both drums together (simultaneously) Bols produced using combination of both drums simultaneously or separately 3. Knowledge of playing techniques of the following bols TRKT, tekS kdaan, kda dha, KTTK, GDNG, DRDR, trake, kda dhaane, GDGN, etc 4. Detailed knowledge of Pt. Bhatkhande and Pt. Paluskar notation systems. 5. Ability to write tukdas in teentaal and jhaptaal in Pt. Bhatkhande system 6. Definitions Kayda, Palta, Rela, Tihai, Mukhda, Mohra, Laggi, Uthaan, Chakradaar Notes 1. Knowledge of Vilambit, Madhya, and Drut 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 a three main types of layas: Vilambit (slower), Madhya (medium), and Drut (faster). Ati-Vilambit a nd Ati-Drut correspond to extra-slow and extra-fast, respectively. 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. Performances in Indian Classical Music tend to develop from vilambit to drut laya, meaning that the speed increases periodically. Peshkaar is considered a vilambit laya composition, kaydas are played in madhya laya, and relas/chakradaar/gat are usually in drut laya. The importance of this sequence is that a slower speed at the beginning allows for more room to improvise, fill the maatras, and essentially warm up. As a performance continues, and the energy or mahol becomes more powerful, the laya increases all the way up to drut and ati-drut, where fixed compositions with heavy consonants (ex. tukdas) are played. More Info 2. Bols/Phrases used in tabla Bols produced only on Daya ta, tite, ti, na, tun, ne with ring finger, tak, tiretire, ... Bols produced only on Baya ge, ke, ghi, ... Bols produced on both drums together (simultaneously) dha, dhin, tin, ... Bols produced using combination of both drums simultaneously or separately dhage, tinakena, dhina, dhite, TRKT, DRDR, GDNG, GDGN, KTTK, trake, ... 3. Knowledge of playing techniques of the following bols TRKT, tekSkdaan, kda dha, KTTK, GDNG, DRDR, trake, kda dhaane, GDGN, etc Be able to describe the hand movements (up and down or side to side) when playing each bol and the specific fingers and parts of fingers that are utilized when playing each bol. Be able to describe which exact part of the tabla or dagga are struck for each individual bol. 4. Detailed knowledge of Pt. Bhatkhande and Pt. Paluskar notation systems. Click Here The exam may test your ability to write in both types of notation systems by asking you to write specific compositions in a particular notation system. (Example: Write tigun of rupak in Pt. Paluskar notation system). 5. Ability to write tukdas in teentaal and jhaptaal in Pt. Bhatkhande system Write various tukdas according to what has been taught to you. Examples of simple tukdas: 6. Definitions Kayda, Palta, Rela, Tihai, Mukhda, Mohra, Laggi, Uthaan, Chakradaar 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 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. 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. More Info 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. 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. 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. 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. 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. More Info BACK TO TOP

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. Chakradaars are fixed compositions. Many chakradaars have khula baaj bols and can also be found in presentations of kathak. Although most chakradaars are composed in teentaal, if the number of maatras in the chakradaar is a multiple of some other taal maatra, then the chakradaar may be played in the other taal as well. For example, an 80 maatra chakradaar may be played in both teentaal and jhaptaal. Additionally, a chakradaar composed in teentaal may be converted to any other taal by increasing or decreasing the time duration of the pauses between the 3 sections. Apart from 32 maatra and 64 maatra chakradaars in teentaal, all other chakradaars are usually played in baraabar laya. Each of the 3 individual tihais or sections of a chakradaar is sometimes called a "chakra". Because of its long, anticipatory, and exciting nature, the last few compositions played in a solo performance are often chakradaars. Simple Chakradaar A regular chakradaar, a tihai played 3 times to arrive on the sum. Farmaishi Chakradaar 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. Examples: https://youtu.be/l6ZMb7kb37o https://youtu.be/Uva2l3rnNLw 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" of a kamaali chakradaar requires 9 "dhas". Each of the 3 tihais or "chakras" of 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. 8 Maatra Method Often times, tabla players will treat teentaal as a 8 maatra cycle in order to compute big chakradaars easily. With this being said, each chakradaar we calculate with the 8 maatra method will actually be twice as many maatras when played. If this is the case, then a 18 maatra tihai played thrice, with a 1 maatra pause, will equal 56 maatras, fitting in 7 awartans of actual teentaal. A 56 maatra chakradaar , also fits in rupak, ada-chautaal, and dhamaar because 56 is a multiple of 7. However, not all chakradaars that are farmaishi in teentaal will remain farmaishi in other taals. A 26 maatra tihai would equate to 80 maatras, fitting 10 awartans of actual teentaal. This conversion cycle of treating teentaal as a 8 maatra cycle is also beneficial in drut laya where it is harder to count the individual maatras. In the first example above, we calculated a 18 maatra tihai with a 1 maatra pause, meaning 56 maatras. If the pause is increased to 3 maatras, then we get a 60 maatra chakradaar, conveniently fitting in jhaptaal (60/10 = 6), ektaal (60/10 = 6), and pancham sawari (60/15 = 4). Keep in mind that this 60 maatra chakradaar is actually 120 smaller maatras when played because 60 big maatras times (2 smaller maatras per 1 big maatra) is 120 smaller maatras. (We are still using the 8 maatra method as discussed above). This way, we are able to convert chakradaars into our desired taal. Nauhakka In a nauhakka, a phrase is played with nine times, with 8 equal pauses in between. Example: tite kata GD GN (4 maatra) with a pause of dhaS ne (1.5 maatra) will fulfill (4 times 9) + (1.5 times 8) = 36 + 12 = 48 maatras = teentaal. This nauhakka can be played in drut teentaal if "titekataGDGN" is treated as 4 small maatras. A misconception is that if a tihai is played thrice, it becomes a nauhakka, but this isn't always true because the 8 pauses in between the 9 phrases need to all be of equal length. BACK TO TOP

4. Madhyama pratham The Praveshika Purna tabla exam evaluates the understanding of various gharanas and vocal styles. It will include concepts such as tuning the tabla, as well as new compositions and ideas such as farmaishi chakradaar, jaati, qualities of a tabla player, and knowledge of solo and accompaniment. Sylllabus Theory 1. Brief history of tabla, its development and changes in recent times. 2. Knowledge of gharanas and baaj. Detailed understanding of Delhi and Lukhnow gharanas. 3. Basic knowledge of following vocal styles Khayal (Vilambit, Drut), Thumri, Bhajan, Taraana 4. Basic knowledge about solo and accompaniment. 5. Desirable and undesirable qualities of a tabla player. 6. Definitions Farmaishi Chakradaar, Bedum and Dumdaar Tihai, Gat, Peshkaar, various types of Parans 7. Ability to write notations of kaydas and relas in teentaal, jhaptaal, and ektaal. 8. (a) Guidelines for tuning the tabla and (b) Knowledge about the use of tablas of various scales for all kinds of music Notes 1. Brief history of tabla, its development and changes in recent times. Click Here 2. Knowledge of gharanas and baaj. Detailed understanding of Delhi and Lukhnow gharanas. Click Here 3. Basic knowledge of following vocal styles Khayal (Vilambit, Drut), Thumri, Bhajan, Taraana Click Here 4. Basic knowledge about solo and accompaniment. Click Here 5. Desirable and undesirable qualities of a tabla player. Read "Solo" section in Solo and Accompaniment 6. Definitions Farmaishi Chakradaar, Bedum and Dumdaar Tihai, Gat, Peshkaar, various types of Parans 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. Examples: https://youtu.be/l6ZMb7kb37o https://www.youtube.com/watch?v=Uva2l3rnNLw 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. 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. More Info 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 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. More Info 7. Ability to write notations of kaydas and relas in teentaal, jhaptaal, and ektaal. Write in Pt. Bhatkhande notation system by default unless specified. Memorize various kaydas and relas. Examples below: 8. (a) Guidelines for tuning the tabla and (b) Knowledge about the use of tablas of various scales for all kinds of music Click Here BACK TO TOP

bibliography Sources used in the making of Tabla Legacy Pt. Suryaksha Deshpande, verbal knowledge and instruction Tabla, Pt. Arvind Mulgaonkar, published by Popular Prakashan, Mumbai, 1999. National Centre for the Performing Arts Tabla Seminar , Mumbai, 1998. Tabla Vadan - Kala Aur Shastra , Pt. Sudhir Mainkar, published by ABGM Mandal, Miraj, 2000. Musical Drums with Harmonic Overtones , Dr. C V Raman, published by Nature (London), Calcutta, 1920. Complete Tabla , Amod Dandage I thank my parents in helping to translate Hindi and Marathi texts into English and allowing me to understand core concepts. I thank my teacher and classmates for their direction, optimism, and support in the development process. I thank the authors of the sources above for their eye-opening knowledge revealed to the world in the forms of books and seminars. I thank God for the opportunity to publish this website.

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. Various types of bols can be found in laggi as it is freeform in structure. It my be quite aggressive and energetic, yet is usually used for light accompaniment and semi-classical music. They may be utilized in bhajans (bhajani theka followed by dha dhin na da laggi), qawaali, ghazal, thumri, etc. Apart from singing and instrumental accompaniment, laggis have become popular in the Bollywood musical industry as well. Examples: BACK TO TOP

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. A rela is said to be named from "rel-gadi," which means train. Rela also means flow, like that of a river. A rela itself has a harmonious flow (similar to a train or river) and many relas create some sort of a buzzing sound. 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 oftentimes repeated. The "laut-palat" principle is used to improvise the rela, and the same palta may be repeated multiple times in order to create a chain. Additionally, a rela may be played in the form of a rou , which creates a harmonious chain given the fact that a rela has 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. Sometimes, an emptiness is experienced while playing "ta" in the khaali section of a rela because the harmonious chain is disrupted be a small pause. To combat this, tabla players will play "take" instead. For example, "taSTRKTTK" will become "takeTRKTTK," ensuring that the flow is not disturbed. BACK TO TOP