Search Results

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

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. ​ BACK TO TOP

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. ​ The structure of a tukda is a small portion followed by a tihai. Sometimes, this small portion or opening played before the tihai is also called "mukhda," which means "face". A tukda, which in literal terms means "piece," isn't as long as compositions such as parans. It is believed that they were formed first in Lucknow gharana, followed by Farrukhabad and Benares. Most stalwarts agree that it evolved from pakhawaaj style parans and was influenced by kathak. ​ Tukdas are short and are not symmetrical like kaydas or relas. Khula baaj bols are utilized for a profound effect. Some tukdas don't contain a tihai. On the other hand, some tukdas contain a phrase repeated 3 times without a pause, or without a "dha". Phrases such as "dhagetite," "DRDRKTTK," "dhaSTRKTTK," "KTTK," "kdadha," "taraSna," "GDGN," and "nagetite" can be included in tukdas. Tabla players will often perform padhant (recitation) before playing a tukda. BACK TO TOP

eshan.live ABOUT US Eshan Ankulkar While taking my Visharad Pratham exam in New Jersey, I experienced the difficulty of gathering English theoretical information about tabla and communicating it using English vocabulary. While my dad very well had a collection of Hindi and Marathi language textbooks, I found it relatively hard to read and understand tough grammar as I did not have as much experience reading advanced texts in such languages as some students in India. Realizing that this was a problem that potentially thousands of students across the world may face, I imagined an online website that provided tabla students around the globe with the opportunity to access information regarding tabla history and theory with ease. With support from my parents and permission from my guru, I have the honor of presenting this website to bright, eager students everywhere. Tabla Legacy provides students from all over an opportunity to review core tabla knowledge in English. I hope you find this content useful! Eshan's teacher, Shri. Suryaksha Deshpande, is an experienced tabla player, teacher, and scholar. He is a disciple of Pt. Arvind Mulgaonkarji of the Farrukhabad Gharana lineage. He is the founder of Anubhooti School of Indian Classical Music based in New Jersey. We thank him for his blessings and positive support in building this informational website. Shri. Suryaksha Deshpande www.anubhootiusa.com Pt. Arvind Mulgaonkar Ut. Amir Hussain Khan

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

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

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

mohra A mohra is a small composition used to arrive at the sum gracefully. It is shorter in length than Mukhda and uses softer bols. It is usually a pick-up phrase or hook played spontaneously in accompaniment to vocal/instrumental music in order to transition onto the next awartan. It may or may not have a tihai. BACK TO TOP

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

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

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

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