Tabla
Encyclopedia
The tabla is a popular India
n percussion instrument
(of the membranophone
family) used in Hindustani classical music
and in popular and devotional music of the Indian subcontinent
. The instrument consists of a pair of hand drum
s of contrasting sizes and timbre
s. The term 'tabla is derived from an Arabic word, tabl, which simply means "drum."
Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (bol
). The heel of the hand is used to apply pressure
or in a sliding motion on the larger drum so that the pitch
is changed during the sound's decay.
and naqqara
. The origins of tabla repertoire and technique may be found in all three and in physical structure there are also elements of all three: the smaller pakhawaj head for the dayan, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak.
A common legendary account credits the 13th century India
n poet Amir Khusrau as the inventor of the tabla. He split the single South Indian mrudangam drum into two or the North Indian pakhawaj in two. ('tora, tab bhi bola - tabla': 'When broke, it still spoke' - a fairly well known Hindi pun) None of his writings on music mention the drum, but this apparent tradition of late invention, combined with the absence of the instrument in South Indian music, and that the tabla closely resembles a Mrudangam cut into two,the closed-ended, paired design that relates it to the Western clay-drums and tympani, altogether supports the view that the tabla is a comparatively recent development in northern Indian music. Other accounts place the invention of this instrument in the 18th century, and the first verifiable player of this drum was Ustad Suddhar Khan of Delhi.
The Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Bombay (6th century) contain depictions of the puskara drum. Musicians often placed the puskara's smaller vertical drum (called 'alinga'), on their lap and played more than one drum at a time. Similar regional instruments include the Punjabi dukkar, the Kashmiri dukra, the duggi in eastern Uttar Pradesh, and the mridangam. The mridangam (Southern equivalent of the Northern pakhavaj
) is the principal drum in Carnatic music. The dhol (dholak
) of eastern Afghanistan is related in terms of both construction and playing style. The main distinction of the tabla is the pairing of two different types of single-headed drums, whereas the dukkar, dukra, and duggi are pairs of the same type and the mridangam and dhol are double-headed, barrel-shaped drums.
and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic
, dominant
or subdominant
of the soloist's key and thus complements the melody
. The tuning range is limited although different dāyāñ-s are produced in different sizes, each with a different range. Cylindrical wood blocks, known as ghatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning is achieved while striking vertically on the braided portion of the head using a small hammer.
The larger drum, played with the other hand, is called bāyāñ (literally "left") or sometimes dagga, duggī or dhāmā. The bāyāñ has a much deeper bass tone
, much like its distant cousin, the kettle drum. The bāyāñ may be made of any of a number of materials. Brass
is the most common, copper
is more expensive, but generally held to be the best, while aluminum and steel
are often found in inexpensive models. One sometimes finds that wood is used, especially in old bāyāñs from the Punjab. Clay
is also used, although not favored for durability; these are generally found in the North-East region of Bengal.
Both drum shells are covered with a head (or puri) constructed from goat
or cow skin. An outer ring of skin (keenar) is overlaid on the main skin and serves to suppress some of the natural overtones. These two skins are bound together with a complex woven braid that gives the assembly enough strength to be tensioned on the shell. The head is affixed to the drum shell with a single cow or camel hide strap laced between the braid of the head assembly and another ring (made from the same strap material) placed on the bottom of the drum.
The name of head areas are gajara (rim), chat, maidan and syahi.
The head
of each drum has a central area called the Syahi
(lit. "ink"; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch (see inharmonicity
) and variety of tonal possibilities unique to this instrument. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument.
For stability while playing, each drum is positioned on a toroid
al bundle called chutta or guddi, consisting of plant fiber or another malleable material wrapped in cloth.
is used to specify a lineage of teaching and repertoire in Indian classical music.
Most performers and scholars recognize two styles of tabla gharana: Dilli Baj and Purbi Baj.
Dilli (or Delhi) baj comes from the style that developed in Delhi, and Purbi (meaning eastern) baj developed in the area east of Delhi. Delhi Baj is also known as Chati baj (Chati is a part of Tabla from where special tone can be produced).
Musicians then recognize six gharānā
s – schools or traditions – of tabla. These traditions appeared or evolved in presumably the following order:
Other tabla performers have identified further derivations of the above traditions, but these are subjective claims not universally recognized. Some traditions indeed have sub-lineages and sub-styles that meet the criteria to warrant a separate gharānā name, but such socio-musical identities have not taken hold in the public discourse of Hindustani art music, such as the Qasur lineage of tabla players of the Punjab region.
Each gharānā is traditionally set apart from the others by unique aspects of the compositional and playing styles of its exponents. For instance, some gharānās have different tabla positioning and bol
techniques. In the days of court patronage the preservation of these distinctions was important in order to maintain the prestige of the sponsoring court. Gharānā secrets were closely guarded and often only passed along family lines. Being born into or marrying into a lineage holding family was often the only way to gain access to this knowledge.
Today many of these gharānā distinctions have been blurred as information has been more freely shared and newer generations of players have learned and combined aspects from multiple gharānās to form their own styles. There is much debate as to whether the concept of gharānā even still applies to modern players. Some think the era of gharānā has effectively come to an end as the unique aspects of each gharānā have been mostly lost through the mixing of styles and the socio-economic difficulties of maintaining lineage purity through rigorous training.
Nonetheless the greatness of each gharānā can still be observed through study of its traditional material and, when accessible, recordings of its great players. The current generation of traditionally trained masters still hold vast amounts of traditional compositional knowledge and expertise.
This body of compositional knowledge and the intricate theoretical basis which informs it is still actively being transmitted from teacher to student all over the world. In addition to the instrument itself, the term tabla is often used in reference to this knowledge and the process of its transmission.
, this style of tabla uses a wet wheat dough on the bass drum's skin. The dough is applied shortly before playing. These types of (Jori) tabla are used by Qawwali ensembles (notably Dildar Hussain
), Sikh, Pakhawaj inspired Tabla Gharana
s (Punjabi Dhrupad
), Gurbani Kirtan and Afghan traditional folk music. A reminder that this style of tabla was used all over India not long ago is that many modern brass tuning hammers still have a dough removal spatula on the reverse end.
India
India , officially the Republic of India , is a country in South Asia. It is the seventh-largest country by geographical area, the second-most populous country with over 1.2 billion people, and the most populous democracy in the world...
n percussion instrument
Percussion instrument
A percussion instrument is any object which produces a sound when hit with an implement or when it is shaken, rubbed, scraped, or otherwise acted upon in a way that sets the object into vibration...
(of the membranophone
Membranophone
A membranophone is any musical instrument which produces sound primarily by way of a vibrating stretched membrane. It is one of the four main divisions of instruments in the original Hornbostel-Sachs scheme of musical instrument classification....
family) used in Hindustani classical music
Hindustani classical music
Hindustani classical music is the Hindustani or North Indian style of Indian classical music found throughout the northern Indian subcontinent. The style is sometimes called North Indian Classical Music or Shāstriya Sangeet...
and in popular and devotional music of the Indian subcontinent
Indian subcontinent
The Indian subcontinent, also Indian Subcontinent, Indo-Pak Subcontinent or South Asian Subcontinent is a region of the Asian continent on the Indian tectonic plate from the Hindu Kush or Hindu Koh, Himalayas and including the Kuen Lun and Karakoram ranges, forming a land mass which extends...
. The instrument consists of a pair of hand drum
Hand drum
A hand drum is any type of drum that is typically played with the bare hand rather than a stick, mallet, hammer, or other type of beater. The simplest type of hand drum is the frame drum, which consists of a shallow, cylindrical shell with a drumhead attached to one of the open ends.-Types:The...
s of contrasting sizes and timbre
Timbre
In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the...
s. The term 'tabla is derived from an Arabic word, tabl, which simply means "drum."
Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (bol
Bol (music)
A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
). The heel of the hand is used to apply pressure
Pressure
Pressure is the force per unit area applied in a direction perpendicular to the surface of an object. Gauge pressure is the pressure relative to the local atmospheric or ambient pressure.- Definition :...
or in a sliding motion on the larger drum so that the pitch
Pitch (music)
Pitch is an auditory perceptual property that allows the ordering of sounds on a frequency-related scale.Pitches are compared as "higher" and "lower" in the sense associated with musical melodies,...
is changed during the sound's decay.
History
It was invented in India but still the history of this instrument is uncertain, and has been the subject of sometimes heated debate. Rebecca Stewart suggested it was most likely a hybrid resulting from the experiments with existing drums such as pakhawaj, dholakDholak
The Dholak is a North Indian, Pakistani and Nepalese double-headed hand-drum Madal. The name dholki may also refer to a slightly different instrument that uses high-pitch tabla style syahi masala on its treble skin. This instrument is also known as Naal or Dholki....
and naqqara
Naqareh
The naqqāra is a drum with a rounded back and a hide head. It is thus a membranophone.The term naqqāra , also naqqarat, naqqarah, naqqåre, nakkare, nagora comes from the Arabic verb naqr- that means "to strike, beat".-Construction:The rounded section of a naqqara is made of baked clay, while the...
. The origins of tabla repertoire and technique may be found in all three and in physical structure there are also elements of all three: the smaller pakhawaj head for the dayan, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak.
A common legendary account credits the 13th century India
India
India , officially the Republic of India , is a country in South Asia. It is the seventh-largest country by geographical area, the second-most populous country with over 1.2 billion people, and the most populous democracy in the world...
n poet Amir Khusrau as the inventor of the tabla. He split the single South Indian mrudangam drum into two or the North Indian pakhawaj in two. ('tora, tab bhi bola - tabla': 'When broke, it still spoke' - a fairly well known Hindi pun) None of his writings on music mention the drum, but this apparent tradition of late invention, combined with the absence of the instrument in South Indian music, and that the tabla closely resembles a Mrudangam cut into two,the closed-ended, paired design that relates it to the Western clay-drums and tympani, altogether supports the view that the tabla is a comparatively recent development in northern Indian music. Other accounts place the invention of this instrument in the 18th century, and the first verifiable player of this drum was Ustad Suddhar Khan of Delhi.
The Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Bombay (6th century) contain depictions of the puskara drum. Musicians often placed the puskara's smaller vertical drum (called 'alinga'), on their lap and played more than one drum at a time. Similar regional instruments include the Punjabi dukkar, the Kashmiri dukra, the duggi in eastern Uttar Pradesh, and the mridangam. The mridangam (Southern equivalent of the Northern pakhavaj
Pakhavaj
The pakhavaj, pakhawaj, pakuaj, pakhvaj or pakavaj is an Indian barrel-shaped, two-headed drum, the North Indian equivalent to the Southern mridangam....
) is the principal drum in Carnatic music. The dhol (dholak
Dholak
The Dholak is a North Indian, Pakistani and Nepalese double-headed hand-drum Madal. The name dholki may also refer to a slightly different instrument that uses high-pitch tabla style syahi masala on its treble skin. This instrument is also known as Naal or Dholki....
) of eastern Afghanistan is related in terms of both construction and playing style. The main distinction of the tabla is the pairing of two different types of single-headed drums, whereas the dukkar, dukra, and duggi are pairs of the same type and the mridangam and dhol are double-headed, barrel-shaped drums.
Nomenclature and construction
The smaller drum, played with the dominant hand, is sometimes called dayan (literally "right"), dāhina, siddha or chattū, but is correctly called the "tabla." It is made from a conical piece of mostly teakTeak
Teak is the common name for the tropical hardwood tree species Tectona grandis and its wood products. Tectona grandis is native to south and southeast Asia, mainly India, Indonesia, Malaysia, and Burma, but is naturalized and cultivated in many countries, including those in Africa and the...
and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
, dominant
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
or subdominant
Subdominant
In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It is also the note immediately...
of the soloist's key and thus complements the melody
Melody
A melody , also tune, voice, or line, is a linear succession of musical tones which is perceived as a single entity...
. The tuning range is limited although different dāyāñ-s are produced in different sizes, each with a different range. Cylindrical wood blocks, known as ghatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning is achieved while striking vertically on the braided portion of the head using a small hammer.
The larger drum, played with the other hand, is called bāyāñ (literally "left") or sometimes dagga, duggī or dhāmā. The bāyāñ has a much deeper bass tone
Timbre
In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the...
, much like its distant cousin, the kettle drum. The bāyāñ may be made of any of a number of materials. Brass
Brass
Brass is an alloy of copper and zinc; the proportions of zinc and copper can be varied to create a range of brasses with varying properties.In comparison, bronze is principally an alloy of copper and tin...
is the most common, copper
Copper
Copper is a chemical element with the symbol Cu and atomic number 29. It is a ductile metal with very high thermal and electrical conductivity. Pure copper is soft and malleable; an exposed surface has a reddish-orange tarnish...
is more expensive, but generally held to be the best, while aluminum and steel
Steel
Steel is an alloy that consists mostly of iron and has a carbon content between 0.2% and 2.1% by weight, depending on the grade. Carbon is the most common alloying material for iron, but various other alloying elements are used, such as manganese, chromium, vanadium, and tungsten...
are often found in inexpensive models. One sometimes finds that wood is used, especially in old bāyāñs from the Punjab. Clay
Clay
Clay is a general term including many combinations of one or more clay minerals with traces of metal oxides and organic matter. Geologic clay deposits are mostly composed of phyllosilicate minerals containing variable amounts of water trapped in the mineral structure.- Formation :Clay minerals...
is also used, although not favored for durability; these are generally found in the North-East region of Bengal.
Both drum shells are covered with a head (or puri) constructed from goat
Goat
The domestic goat is a subspecies of goat domesticated from the wild goat of southwest Asia and Eastern Europe. The goat is a member of the Bovidae family and is closely related to the sheep as both are in the goat-antelope subfamily Caprinae. There are over three hundred distinct breeds of...
or cow skin. An outer ring of skin (keenar) is overlaid on the main skin and serves to suppress some of the natural overtones. These two skins are bound together with a complex woven braid that gives the assembly enough strength to be tensioned on the shell. The head is affixed to the drum shell with a single cow or camel hide strap laced between the braid of the head assembly and another ring (made from the same strap material) placed on the bottom of the drum.
The name of head areas are gajara (rim), chat, maidan and syahi.
The head
Drumhead
A drumhead is a membrane stretched over one or both of the open ends of a drum. The drumhead is struck with sticks, mallets, or hands so that it vibrates and the sound resonates through the drum.-History:...
of each drum has a central area called the Syahi
Syahi
Syahi is the tuning paste applied to the head of many South Asian percussion instruments like the dholki, tabla, mridangam, and pakhavaj.-Overview:...
(lit. "ink"; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch (see inharmonicity
Inharmonicity
In music, inharmonicity is the degree to which the frequencies of overtones depart from whole multiples of the fundamental frequency....
) and variety of tonal possibilities unique to this instrument. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument.
For stability while playing, each drum is positioned on a toroid
Toroid
Toroid may refer to*Toroid , a doughnut-like solid whose surface is a torus.*Toroidal inductors and transformers which have wire windings on circular ring shaped magnetic cores.*Vortex ring, a toroidal flow in fluid mechanics....
al bundle called chutta or guddi, consisting of plant fiber or another malleable material wrapped in cloth.
Tabla Notations
Hindustani Classical Music has two standard notation systems as Pt. Bhatkhande and Pt. Paluskar notation system. The same notation system is used for notating Tabla.Basic Strokes
Some basic strokes with dayan on right side and bayan on left side are:- Ta: (on dayan) striking sharply with the index finger against the rim
- Ghe or ga: (on bayan) holding wrist down and arching the fingers over the syahi, the middle and ring-fingers then strike the maidan (resonant)
- Tin: (on dayan) placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan (resonant)
- Dha: combination of Ta and Ghe
- Dhin: combination of Tin and Ghe
- Ka or kit: (on bayan) striking with the flat palm and fingers (non resonant)
- Na or ta: (on dayan) striking the edge of the syahi with the last two fingers of the right hand
- Tit: (on dayan) striking the center of the syahi with the middle finger
- Ti: (on dayan) striking the center of the syahi with the index finger (resonant)
Gharānā — tabla tradition
The term gharānāGharana
In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one...
is used to specify a lineage of teaching and repertoire in Indian classical music.
Most performers and scholars recognize two styles of tabla gharana: Dilli Baj and Purbi Baj.
Dilli (or Delhi) baj comes from the style that developed in Delhi, and Purbi (meaning eastern) baj developed in the area east of Delhi. Delhi Baj is also known as Chati baj (Chati is a part of Tabla from where special tone can be produced).
Musicians then recognize six gharānā
Gharana
In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one...
s – schools or traditions – of tabla. These traditions appeared or evolved in presumably the following order:
- Delhi gharānā
- Lucknow gharānāLucknow gharana (tabla)Lucknow gharānā, also known as "Purab gharâna", is one of the six main gharānās or styles in tabla.It is characterized by the presence of full resonant sounds, and the use of ring and pinky fingers on the dayan ....
- Ajrara gharānāAjrara gharānāAjrara gharana or Ajrada gharana is one of the six main traditional schools in tabla drum. This school was founded in the nineteenth century by Miru and Kallu, disciples of Sitab Khan of the Delhi gharana, at the Ajrara village, in Uttar Pradesh....
, later followed by - Farukhabad gharānāFarukhabad gharānāFarukhabad gharana is one of six prominent playing styles or gharanas of North Indian tabla drums, in Hindustani classical music, and derives its name from Farukhabad in Uttar Pradesh state.-History:...
- Benares gharānāBenares gharanaBenares gharānā is one of the six most common styles of playing of the Indian tabla.-History:The Benares tabla gharana was developed a little over 200 years ago by Pandit Ram Sahai . Ram Sahai began studying the tabla with his father from the age of five. At the age of nine, he moved to Lucknow to...
- Punjab gharānāPunjab gharanaPunjab Gharānā , is a style and technique of Tabla playing that originated in the Punjab region of what is now split in present day Pakistan and India. The Punjab Gharana is possibly the oldest of the six Tabla Gharanas...
Other tabla performers have identified further derivations of the above traditions, but these are subjective claims not universally recognized. Some traditions indeed have sub-lineages and sub-styles that meet the criteria to warrant a separate gharānā name, but such socio-musical identities have not taken hold in the public discourse of Hindustani art music, such as the Qasur lineage of tabla players of the Punjab region.
Each gharānā is traditionally set apart from the others by unique aspects of the compositional and playing styles of its exponents. For instance, some gharānās have different tabla positioning and bol
Bol (music)
A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
techniques. In the days of court patronage the preservation of these distinctions was important in order to maintain the prestige of the sponsoring court. Gharānā secrets were closely guarded and often only passed along family lines. Being born into or marrying into a lineage holding family was often the only way to gain access to this knowledge.
Today many of these gharānā distinctions have been blurred as information has been more freely shared and newer generations of players have learned and combined aspects from multiple gharānās to form their own styles. There is much debate as to whether the concept of gharānā even still applies to modern players. Some think the era of gharānā has effectively come to an end as the unique aspects of each gharānā have been mostly lost through the mixing of styles and the socio-economic difficulties of maintaining lineage purity through rigorous training.
Nonetheless the greatness of each gharānā can still be observed through study of its traditional material and, when accessible, recordings of its great players. The current generation of traditionally trained masters still hold vast amounts of traditional compositional knowledge and expertise.
This body of compositional knowledge and the intricate theoretical basis which informs it is still actively being transmitted from teacher to student all over the world. In addition to the instrument itself, the term tabla is often used in reference to this knowledge and the process of its transmission.
Jori / Jodi and Dhama Style Tabla
Next to the contemporary common style of tabla, there exist older styles in which the bayan (called Dhama or Dhamma) is often made out of wood. Instead of having a thin dry syahiSyahi
Syahi is the tuning paste applied to the head of many South Asian percussion instruments like the dholki, tabla, mridangam, and pakhavaj.-Overview:...
, this style of tabla uses a wet wheat dough on the bass drum's skin. The dough is applied shortly before playing. These types of (Jori) tabla are used by Qawwali ensembles (notably Dildar Hussain
Dildar Hussain
Dildar Hussain was the percussionist of Ustad Nusrat Fateh Ali Khan's Qawwali party until Nusrat's death in 1997.Dildar Hussain learned tabla from Ustad Allah Rakha Khan. His first performance was in India in 1969 before he joined Ustad Nusrat Fateh Ali Khan's Qawwali party in 1971...
), Sikh, Pakhawaj inspired Tabla Gharana
Gharana
In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one...
s (Punjabi Dhrupad
Dhrupad
Dhrupad is a vocal genre in Hindustani classical music, said to be the oldest still in use in that musical tradition. Its name is derived from the words "dhruva" and "pada"...
), Gurbani Kirtan and Afghan traditional folk music. A reminder that this style of tabla was used all over India not long ago is that many modern brass tuning hammers still have a dough removal spatula on the reverse end.
Tabla terminology
- UstadUstadUstad is an Arabized Persian word is a honorific title for a Muslim man in South Asia. The title precedes the name and is usually used for well regarded teachers and artists, most often musicians. It is applied and used via informal social agreement. It is abbreviated as ut. or ud.-References:*...
- a master of the tabla technique and gharanaGharanaIn Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one...
, or school. Hindus are referred to as Pandit. - GharanaGharanaIn Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one...
- any of the six schools (PunjabPunjab gharanaPunjab Gharānā , is a style and technique of Tabla playing that originated in the Punjab region of what is now split in present day Pakistan and India. The Punjab Gharana is possibly the oldest of the six Tabla Gharanas...
, DelhiDelhi gharanaThe Delhi Gharana is the oldest of all tabla gharanas, and is also the first to establish improvisation rules. It was founded in North-East India, and is easily one of the most, if not the most, common Gharana used today.-History:...
, BenaresBenares gharanaBenares gharānā is one of the six most common styles of playing of the Indian tabla.-History:The Benares tabla gharana was developed a little over 200 years ago by Pandit Ram Sahai . Ram Sahai began studying the tabla with his father from the age of five. At the age of nine, he moved to Lucknow to...
, Ajrara, Lucknow, Farukhabad) of tabla. - SyahiSyahiSyahi is the tuning paste applied to the head of many South Asian percussion instruments like the dholki, tabla, mridangam, and pakhavaj.-Overview:...
- the black spots on the tabla, also called gab. Composed of a dried paste derived from iron filings and applied in several separate layers to the head of the drum. Sometimes called the syahi. - Keenar - the outer ring of skin on the head of each of the two tabla drums. In HindiHindiStandard Hindi, or more precisely Modern Standard Hindi, also known as Manak Hindi , High Hindi, Nagari Hindi, and Literary Hindi, is a standardized and sanskritized register of the Hindustani language derived from the Khariboli dialect of Delhi...
, known as the chat. - Sur - The area between the gaab and the keenar. In Hindi, known as the maidan.
- BolBol (music)A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
- both mnemonic syllables and a series of notes produced when stroked. E.g. Na, tin, Dha, Dhin, Ge, Ke, etc. - Theka - a standard series of bols that form the rhythmic basis of tabla accompaniment for a given tala.
- - a sort of rapid drum-roll.
- Chutta - the cushions used when placing the tabla.
- Baj, Baaj, or Baaz - a style of playing, different from the gharānā. Two main styles developed, Purbi Baj and Dilli Baj. Dilli, or Delhi, baj is the *style of bols and playing that originated in the city of Delhi. Purbi (meaning "eastern") developed in the area east of delhi. Both have different ways to play bolBol (music)A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
s. - Bāyāñ or Duggi- The metal drum providing the bass notes in tabla.
- Dayan or Tabla - The wooden drum providing the treble notes in tabla.
- Lay (or Laya) - tempo.
- TalaTala (music)Tāla, Taal or Tal is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in other Asian classical systems such as the notion...
(or Tāl) - rhythm cycle; meter. Example: Dadra Tala, Ada Chautal, Teental, and the most common, keherwa. - Sam - the first beat of a tāl.
- VibhagVibhagIn certain traditions of Indian music, any number of beats may form a vibhag. Usually the beats will be in two, three, or four. They should be designated either with a clap or a wave of the hand....
- Taal division. - Tāli - clap.
- KhaliKhaliKhali and similar can mean:*An empty beat indicating the beginning of a subdivision in the taal rhythmic cycle*The Great Khali, an Indian professional wrestler, actor, and former powerlifter*Rub' al Khali, a big desert in Arabia...
- off or no claps. - Ghatta - Wooden dowels used to control the tension.
See also
- TalaTala (music)Tāla, Taal or Tal is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in other Asian classical systems such as the notion...
- BolBol (music)A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
- Hindustani classical musicHindustani classical musicHindustani classical music is the Hindustani or North Indian style of Indian classical music found throughout the northern Indian subcontinent. The style is sometimes called North Indian Classical Music or Shāstriya Sangeet...
- Doumbek - Arabian drum also known in Egypt as "tabla", "Egyptian Tabla", or "Alexandrian Tabla".
Further reading
- The Major Traditions of North Indian Tabla Drumming: A Survey Presentation Based on Performances by India's Leading Artists, by Robert S. Gottlieb. Pub. Musikverlag E. Katzbichler, 1977. ISBN 387397300.
- The tabla of Lucknow: a cultural analysis of a musical tradition, by James Kippen. Cambridge University PressCambridge University PressCambridge University Press is the publishing business of the University of Cambridge. Granted letters patent by Henry VIII in 1534, it is the world's oldest publishing house, and the second largest university press in the world...
, 1988. ISBN 0521335280. - Solo Tabla Drumming of North India: Text & commentary, by Robert S. Gottlieb, Motilal BanarsidassMotilal BanarsidassMotilal Banarsidass is a leading Indian publishing house on Sanskrit and Indology since 1903, located in Delhi, India. It publishes and distributes serials, monographs, and scholarly publications on Asian religion, philosophy, history, culture, arts, architecture, archaeology, language,...
Publ., 1993. ISBN 8120810937. - Fundamentals of Tabla, (Volume 1) by David R. Courtney. Pub. Sur Sangeet Services, 1995. ISBN 096344476X.
- Advanced Theory of Tabla, (Volume 2) by David R. Courtney. Pub. Sur Sangeet Services, 2000. ISBN 0963444794.
- Manufacture and Repair of Tabla, (Volume 3) by David R. Courtney. Pub. Sur Sangeet Services, 2001. ISBN 1893644022.
- Focus on the Kaidas of Tabla, (Volume 4) by David R. Courtney. Pub. Sur Sangeet Services, 2002. ISBN 1893644030.
- Theory and practice of tabla, by Sadanand Naimpalli. Popular Prakashan, 2005. ISBN 8179911497.
External links
- Largest Hand Drum Ensemble Guinness World Record (321 Students playing tabla non stop for 1 hour)