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practice exams This page includes practice exams for the written portion of tabla curriculum. In this section, students will be given a specific amount of time depending on their level and will be asked to write essays for each question. The first question asked is often mandatory, but you will only need to complete 4 more questions out of the remaining questions, in order to complete a total of 5. If there are more than 5 questions included on the paper, the student may have a choice as to which to answer. For Visharad Pratham and Visharad Purna, the examinee will have two separate sessions to complete two different written exams. Praveshika Purna Set 1 1. Write the notation of any two from the following. (Required) a) Roopak and jhaptaal as per Pt. Bhatkhande and Pt. Paluskar notation systems. b) Single and double of teentaal as per Pt. Bhatkhande and Pt. Paluskar notation systems. c) Sum to sum tukda in teentaal and jhaptaal. 2a. Fill in the blanks. a) The sign for khaali as per Pt. Paluskar notation system is _____. b) There are _____ maatras in the second vibhaag of deepchandi. c) There are always _____ intervals in a tihai. d) When the distance between two maatras is less, the composition is in _____ laya. e) The sum of roopak is on the _____ beat. 2b. Match the corresponding terms from Group A to Group B. Group A: kayda, deepchandi, dhumaali, theka, chautaal Group B: thumri, expandable composition, first composition of taal, pakhawaaj, bhajan 3. Example, in detail, vilambit, madhya, and drut laya. 4. Describe the taals ektaal and chautaal and distinguish between their characteristics. 5. Explain the playing techniques of TRKT, GDNG, trake, KTTK, and DRDR. 6. Define the following terms: rela, palta, uthaan, laggi, chakradaar. 7. Describe Pt. Paluskar notation system while providing suitable examples. Additional randomized questions After explaining all types of layas in detail, explain which laya each of the following compositions can be played in. Laggi, kayda, peshkaar, rela Write a tukda in jhaptaal using the Pt. Bhatkhande notation system. Then write the tigun of jhaptaal in Pt. Paluskar notation system. Define mukhda and mohra. Afterwards, compare and contrast kayda and rela. Compose a tihai in roopak with 14 maatras to spare, a 1 maatra pause, and while using the bol "TRKT". First explain your mathematical calculations to understand how many maatras will exist within each of the 3 divisions of the tihai, then write the tihai down. Differentiate between the playing techniques of the bols "GDNG" and "GDGN". Madhyama Pratham Set 1 1. Write the notation of any three from the following: (Required) a) Tigun of ektaal as per Pt. Paluskar notation. b) Dumdaar tihai in jhaptaal. c) Dugun of dhamaar as per Pt. Paluskar notation. d) Keherwa laggi. e) Teentaal gat. 2. Fulfill the following. a) What are the similarities and differences between teentaal and tilwada? b) Use Pt. Paluskar notation to write teentaal and tilwada. c) What are the ways in which teentaal and tilwada are used in accompaniment? 3. What is khula baaj, and what is band baaj? Explain using suitable examples. Describe which gharanas in tabla are known for using khula baaj and band baaj respectively. 4. Describe the following vocal styles, explaining how tabla accompaniment should be done for each. Khayal, taraana, thumri 5. What theories exist regarding the evolution of tabla? Afterwards, briefly contrast tabla solo and accompaniment and then list the main skills involved in each respective category (solo and accompaniment). 6. Define and elaborate on the following terms with suitable examples: Farmaishi chakradaar, peshkaar, paran 7. Explain the process of tuning the tabla. Then, describe how tablas of different scales are used in different kinds of Indian Classical Music. Madhyama Purna Set 1 1. Write the notation of any three from the following. (Required) a) Theka of rupak in kuwaad b) Theka of teentaal in biaad. c) Kamaali chakradaar in teentaal. d) Gat-kayda in teentaal. e) Tigun of Ektaal in Pt. Paluskar notation system. 2. Briefly summarize the styles of dhrupad, dhamaar, ghazal, and tappa. Then, in a well written analysis, differentiate and contextualize dhrupad vs. khayal and the history surrounding both. 3. Quickly summarize the accomplishments of Lucknow gharana. Afterwards, describe the baaj, thought process, and history of Farrukhabad gharana. 4. Describe the history of tabla, as well as relevant theories of origin, in detail. 5a. Define aamad, chaupalli, and kamaali chakradaar. 5b. Explain the best practices of accompaniment towards bada khayal. 6. How does taal provide a valid framework for Indian Classical Music? How does taal relate to tabla and tabla compositions? 7. Analyze peshkaar, kayda, and rela in terms of the following components while contrasting between the compositions. Placement, expandability, ability to be improvised, and types of bols utilized. Visharad Pratham (Theory I) Set 1 1. Write the notation of any three from the following. (Required) a) Chakradaar in chautaal. b) Dumdaar tihai in roopak. c) Aad and biaad laya of dhamaar. d) Tukda in taal sawari. e) Aad and biaad laya of ektaal. 2. Explain the importance and chronological order of peshkaar, kayda, rela, and gat in tabla solo-playing. 3. Briefly give information about gharanas in tabla. Compare and Contrast the features and playing techniques of Delhi and Lucknow Gharanas. 4. Write about various changes and developments that took place in the history of tabla from its origin to present time. 5. Include detailed information about various riyaaz techniques to improve the balance between the daya and baya. 6. Point out the contributions of the following artists in tabla (any 3). a) Ut. Salaari Khan b) Pt. Madhavrao Algutkar c) Ut. Inam Ali Khan d) Pt. Purshottamdas Pakhawaaji e) Ut. Karamtullah Khan 7. Write 2 bedum and 2 dumdaar tihais in ada-chautaal and jhaptaal. Example randomized questions Imagine some chakradaar in teentaal with 32 maatras to spare and a pause of 1 maatra in between the 3 divisions of the chakradaar. First, explain how many maatras will be in each of the 3 divisions/tihais of the chakradaar and show your math calculations. Then compose a chakradaar with those characteristics using the bol "DRDRKTTK" somewhere within the chakradaar, and write it using Pt. Bhatkhande notation system. Visharad Pratham (Theory II) Set 1 1. Write notation of any 3 within the following. (Required) a) Dumdaar tihai in ektaal b) Kamaali chakradaar in roopak c) Kuwaad and biaad laya of teentaal d) Farmaishi chakradaar in ektaal e) Tigun and chaugun of deepchandi as per Pt. Bhatkhande notation system 2. Define taal and explain the relationship between taal and theka. Explain the importance of taal and theka in Indian Classical Music. 3. Define the following terms with suitable examples (pick 5). gat-paran, mukhda, peshkaar, farmaishi chakradaar, mohra, chalan, aamad 4. Explain the classification of Indian Classical instruments while providing suitable examples for each category. 5. Define laya and layakari, then write in detail about the relationship between the two. 6. Write the similarities and differences between the following sets of taals (any 3). dhamaar and ada-chautaal teentaal and tilwada tevra and pashto jhaptaal and sooltaal 7. Explain rela, then write a tisra jati rela in jhaptaal along with 4 paltas and a tihai. Afterwards, write a tukda and bedum tihai in teentaal. BACK TO TOP

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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. Peshkaar means "pesh karna," or to present. It utilizes the essence of naad from both the daya and baya in order to experience the taal from different angles using different bols and patterns.The Peshkaar presents an opportunity for the tabla player to take a lot of liberty to improvise within the taal. The peshkaar may show the vibhaag/divisions, khaali, and bhaari components of the taal. In general, the chronological order of tabla has been adapted from that of vocal singing. The performance laya starts from vilambit all the way to ati-drut. When considering a human lifestyle, the body needs a warm-up phase or interval in order to adapt to changes (such as weather, time changes, different behavioral patterns, etc). Following this need, peshkaar serves as a “warm-up” for the workout. Tabla in itself is a both psychologically and physically intensive instrument. This “warm-up” is a good exercise to prepare for the powerful kaydas and relas that may be played later. Peshkaar is a culmination point of intelligence, deep thinking, deep theoretical study, riyaaz, bol clarity, and aesthetic all at once, and thus is a valid point of introduction for the solo. Ut. Alla Rakha Khan said that peshkaar is like "pej katna," or cutting the rope of a kite. Not all the rules that apply to kayda are applicable to peshkaar. For example, almost all bols in tabla can be played within Peshkaar. However, "tite" is usually not played. Laya, jati, points of emphasis (wazan), khali/bhari, etc are all kinds of aspects that can be implemented in peshkaar. Although the composition may be similar to kayda, peshkaar has more room for spontaneous improvisation. Unlike a kayda, the distance between maatras has a very big importance in peshkaar. Peshkaar should be learned under the guidance of a capable guru. It requires a lot of personal thought, experience, and maturity. Some stalwarts are able to judge a tabla player’s candidacy simply by his peshkaar. A traditional peshkaar should not be memorized, but rather spontaneously “thought of” within the constraints of music and with an organizational, sensible pattern. A peshkaar mukh in the Delhi Gharana usually starts with dha, while a popular theme in the Farukhabad Gharana starts with “dhinSkdadhina” and has gained prestige due to the works of Ut. Ahmed Jaan Thirakwa. In Delhi Gharana peshkaar, whenever a design is produced in the peshkaar and a different laya is explored (such as 1.25 or 1.5), even then, the composition will ultimately end in the original laya. It will usually end in equi-tempo even when other patterns were explored. In the Farrukhabad Gharana peshkaar, bols such as "dhinSkda," "dhatit," "ghidan," "trake," "KTTK," and "tinetinakena" can be found. They utilize various kaydas in the peshkar in order to enhance the entertainment value. BACK TO TOP

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

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?

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

Definitions Brief definitions for common terms used in the world of tabla. Explore Types of Compositions and various categories in Fundamentals for more complete descriptions. Aamad - Aamad means "arrival". In general, a composition which gives a sense or intuition of arriving on the sum is aamad. In dance music, the introduction of rhythmic bols presented at the beginning of a Kathak performance is called Aamad. Alaap - A slow, improvised section in the beginning which introduces the raag. Ati-Drut/Anu-Drut - Extremely fast tempo. Ati-Vilambit - Extremely slow tempo. Awartan - An awartan is one cycle or rotation of a particular composition. In tabla, if a composition is played once, from sum to sum, one awartan of that composition is played. For example, one awartan of teentaal will be of 16 maatras, whereas two awartans of teentaal will be of 32 maatras. Baaj - Playing style. Bada Khyal - A singing composition sung in the slow tempo. Bandish - Composition. Baraabar - Equal rhythm of time; equi-tempo. Baya - Round drum on which bols like ge and ke are played, usually with the non-dominant hand. Bedum Tihai - A tihai with be-dum, meaning no-pause, is a bedum tihai. A bedum tihai has a pause of 1/2 maatra or less. A bedum tihai can't be composed in a taal of which the number of maatras is a multiple of 3 (ex. ektaal, matta taal). Bhareev Theka - A theka filled with a substantial and appropriate amount of syllables. Bhari - A packed or heavy portion of the taal. Bol - Syllable or note played on the tabla. Chakradaar - A chakradaar includes a tihai-containing tukda which is repeated 3 times in order to land on the sum. It is essentially a tihai played 3 times. Chalan - A set of syllables that represents a verse. Chaugun - In a cycle or time interval of a particular phrase, if that phrase is instead played 4 times at 4 times the speed, it is chaugun. In other words, chaugun is quadruple tempo. Chaupalli - "Chau" + "palli" implies 4 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a chaupalli, not only are there 4 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. Cheez - Composition; usually in reference to bandish of raag. Chhota Khayal - Type of composition sung in a fast tempo. Danedaar Theka - A theka with precise bols that still gives off the overall ambience of the theka. Similar to a pearl necklace: even with beautiful individual pearls, an admirer can look at the necklace and distinguish it as a whole. Daya - The tabla, or the drum played usually with the dominant hand. Dhun - a light tune; a folk melody. Drut Laya - Fast tempo. Dugun - Dugun is when a phrase is played two times, at twice speed, within a certain time interval. Whenever 2 maatras are played within a time span of 1 maatra, it is considered dugun. Dumdaar Tihai - Dumdaar, meaning "with a pause," implies that a dumdaar tihai has a pause. The pauses may be short or long, and they may also be simple or complex. Usually, a dumdaar tihai has a pause that is more than 1/2 maatra. A dumdaar tihai with complex pauses is sometimes referred to as bikat dum. Farmaishi Chakradaar - A chakradaar includes a tihai-containing tukda which is repeated 3 times in order to land on the sum. It is essentially a tihai played 3 times. A farmaishi chakradaar is a chakradaar of which the "dha" of the first section of the first tihai lands on the sum, the "dha" of the second section of the second tihai lands on the sum, and the final "dha" also lands on the sum. Gajra - a four ply leather hoop surrounding the face of the tabla which lies around 0.5 to 1 cm below the pudi. Gambhir Rasa - Serious mood. Gat - A gat is a fixed composition composed by various maestros and composers which provides an experience of various elements in nature through the language of tabla. These elements of nature may include things like the flow of a river, the flight of a bird, or the bouncing of a ball. A gat is completed before the sum, and therefore can be played multiple times sequentially. A gat is usually performed at least twice in a solo performance. Gat-Kayda - A gat-kayda is a composition which uses the expansion rules of a kayda but uses the language of a gat. A gat-kayda utilizes the chaal or flow of a gat. It is found in Lucknow and Farrukhabad Gharanas. Although it is an expansionary composition, the extent to which it may be expanded is usually less than a regular kayda because the bols used in this composition are heavy bols found in gats. Gat-Paran - A gat-paran is a composition/tukda with open, prominent bols. The term “Paran” comes from the Sanskrit word “Pern,” meaning leaf. Similar to a leaf’s main stem and small branches, a paran, coming from pakhawaj language, has a main phrase which branches out into other phrases based on the original. A gat-paran is a paran that uses the language of a gat. Gatthaa - A wooden cylindrical block which is utilized in order to adjust the pitch of the tabla. Gayaki Ang - A form of playing melodious instruments with a close similarity to the vocal form. Gharana - A school of Indian Classical Music. Ghazal - A light vocal musical form sung with poetic aesthetics. Gheeskam - A style of playing the baya. Ghumara - A style of playing the baya. Guru - A teacher. Jati - Indicates creating a distribution of syllables in a particular maatra in various ways. Kamaali Chakradaar - The word "kamaal" means amazing or skillful. Similarly, a kamaali chakradaar is skillful and even more intricate than a farmaishi chakradaar. It involves unique mathematical calculations and patterns. A kamaali chakradaar incorporates 27 "dhas", of which the 1st dha of the 1st section lands on the sum, the 14th dha of the 2nd section lands on the sum, and the 27th and last dha of the 3rd section lands on the sum. Each of the 3 tihais or "chakras" within a kamaali chakradaar requires 9 "dhas". Karuna Rasa - A compassionate mood. Kayda - An expansionary composition with a balance of consonant and vowel phrases which begin and ends with a vowel phrase is called a kayda. Kaydas have khaali and bhari components and divisions. The divisions of a kayda may either be symmetrical to the taal in which the kayda is established or may fall in odd places. Khaali - A khaali can be represented by taking your hand away or striking with the back of your hand during recitation of a taal. It represents the starting maatra of a khaali, or hollow, division. Khalifa - Heir. Khayal - A vocal musical form which was popularized after Dhrupad/Dhamaar. Khula - Open. Kissm - Variations in a theka played without disturbing the theme or flow of the theka are called kissm. While accompanying, a tabla player may play various kissm in order to musically and appropriately match the main performing artist's composition. Laggi - A short, attractive theme played in drut laya in taals such as dadra or keherwa. It is one of the smallest expandable compositions, of which the variations or referred to as "laut-palat," meaning "back and forth," referring to the combinations made in the variations of the laggi. A laggi is a useful composition for accompaniment. Laya - Laya, or tempo, is an important element of music. It is the distance between two maatras. When the distance between two maatras increases, the speed of the composition slows down, and vice versa. In other words, laya represents the equal movement of time and the equal spacing between two maatras. Laya also means destruction: when a second maatra is produced, the time interval or the reign of the first maatra fades away. An artist may perform in various layas according to the rules of Indian Classical Music. Layakari - The skill of controlling the laya and changing how the maatras are divided to create rhythmic variation. In other words, it is the practical and artistic implementation of various layas. Lehra - A repeating melody used to accompany tabla solo-playing in a given taal. Maatra - A maatra is a medium of measuring the taal. It is the smallest whole unit or "beat" of a taal. Each taal has a set number of maatras, and each maatra is of equal length. Example: Teentaal has 16 maatras of equal length. In literal terms, maatra means "part". Madhya Laya - Medium tempo. Masidkhani - Type of composition played on instruments like the sitar in a slow tempo. Meend - A style of playing the baya through controlling the resonance. Mehfil - A musical function/concert, with a small audience and intimate setting. For example, ghazals were often sung in house mehfils. Mohra - A mohra is a small composition used to arrive at the sum gracefully. It is shorter in length than Mukhda and uses softer bols. It is usually a pick-up phrase or hook played spontaneously in accompaniment to vocal/instrumental music in order to transition onto the next awartan. It may or may not have a tihai. Mukhda - A mukhda is a short and attractive composition of a few maatras used to land on the sum. A mukhda is longer than Mohra but shorter than Tukda. The length of a Mukhda is generally equal to or less than one Awartan. It uses stronger bols such as those found in a Paran. Some stalwarts say that a mukhda usually is the combination of bols composed in the last few maatras of an awartan in order to arrive at the sum. It may or may not have a tihai. Naad - The sound that is produced from playing a certain bol on a musical instrument. Nikaas - A style of presenting or expressing a certain bol through an instrument. Nishabda - A soundless activity which may be indicated by the movements of our hands. Pakhawaaj - An Indian drum placed horizontally. Palta - Expansionary compositions such as kaydas or relas are improvised upon through the help of paltas. A palta is a variation which is derived from the bols of the mukh or theme of the kayda or rela. Paltas help to show different combinations of a mukh using the bols of that mukh. Mathematically, we can come up with a seemingly endless amount of permutations and combinations using a specific language, and the expansion process differs from player to player. Paran - Connecting to the Sanskrit word "pern," meaning leaf, a paran is a composition with accent-filled, resonance-filled bols. It generally ends with a tihai and can be compared to the structure of a leaf: a main vertical axis which "branches out" into veins on both sides. Peshkaar - A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. Raag - A melodic framework in Indian Classical Music improvised upon in various ways. Rasa - A mood or taste pertaining to various raags. Rela - A rela is an expansionary composition which begins with a vowel but ends with a consonant phrase. A rela has rapid bols and is played in drut laya, helping to create a harmonious chain or musical flow. Many relas are abundant in consonants. Riyaaz - Practice. Sampadi - A taal in which all divisions have the same number of maatras (Ex. teentaal, ektaal, chautaal, ada-chautaal). Sangeet - Sangeet is the combination of the 3 arts in Indian Classical Music: singing, instrumental playing, and dancing. Sashabda - An activity which includes sound and which can be indicated through the movements of the hands. Shanta Rasa - Tranquil mood. Shringar Rasa - Erotic mood. Sum - Sum refers to the first maatra of the taal. In other words, it is a beginning. The main function of the sum is to establish a point of resolution or emphasis. In theory, it represents a "restart" of a cycle of taal. Swar - Swar refers to distinct musical notes of various frequencies. (Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa). Taal - Taal refers to a system of rhythmic pattern in Indian Classical Music. Rhythm is a fundamental concept for music. While there a various types of taals, with different characteristics and number of maatras, songs, instrumental compositions, and dance compositions in Indian Classical Music are established in a certain taal. This way, taal is a technique of measuring time in musical compositions. Taali - A taali can be represented by the clapping of hands during recitation of a taal. It represents the starting maatra of a bhari, or packed, division. Taan - A fast phrase sung or played on an instrument which includes intricate note patterns. Taleem - Education, direction. Tatkaar - -A prominent activity constituting Kathak. Tayyari - Readiness or maturity. Theka - The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. While a taal can be simply expressed through taali/khaali, in order for a taal to be musically useful, a theka is employed. There may be differences of the theka played for any particular taal according to the context in which the theka is performed. Tigun - In a cycle or time interval of a particular phrase, if that phrase is instead played 3 times at thrice the speed, it is tigun. In other words, tigun is triple tempo. Tihai - A tihai is a composition in which a phrase is repeated 3 times with 2 equal pauses to arrive on a designated position, usually but not necessarily the sum. Tripalli - "Tri" + "palli" implies 3 aspects or divisions. It is a composition in which a phrase is played 3 times, each time in a different, increasing laya in order to fill up awartans or to land on the sum. Some stalwarts argue that in a tripalli, not only are there 3 different layas or speeds involved, but the phrase also ends in a "dha" after each division similar to a tehai. Tukda - A tukda is a fixed composition primarily with forceful bols and heavy consonants. A tukda contains a tihai within it and usually is 2-3 awartans in length. Some stalwarts argue that a tukda, or "piece," is a portion of a longer composition which, even if played independently, appears meaningful. Upaj - A spontaneous expression which is irreproducible due to its impromptu nature. Uthaan - An attractive fixed composition played at the beginning of a solo performance. Benares Gharana players usually start their solo with an uthaan, which helps to increase the energy amongst the audience. It is played in fast tempo, can have features of a tukda or paran, and and can be short and long. Vazandar Theka - Theka with weighty bols. Veer Rasa - Heroic mood. Vibhaag - Vibhaag, or khand, are divisions made within a taal as per the khaali and bhari (packed and hollow) components of a taal. A vibhaag can be of even or odd number of maatras, and different taals may have different vibhaags. For example, teentaal has 4 vibhaags of 4 maatras each (4+4+4+4) whereas rupak has 3 vibhaags of 3,2,2 maatras (3+2+2). In other words, vibhaags are subsections made within a particular taal. Vilambit Laya - Slow tempo. Vishampadi - A taal of which divisions are of various numbers of maatras (Ex. Dhamaar). BACK TO TOP

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