tabla link

Chapter 01: Introduction to the Tabla

Dear student: In this online guide, there will be three characters whom

should be great friends by the end of this chapter. They are instructor,

student, and the tabla. You, the student, and I, your guide, can know more of

each other later. I’ll introduce you to the tabla, whom you’ll do most your

practice, work, and creations on. The tabla is our focal point in this course.

Material shown here will be helpful, but not necessarily a replacement course

in pakhawaj, khol, or any other percussion instrument.

The origin of the tabla is the most debated topic. It is argued to have

appeared at least five hundred years ago. Some musicians will argue

that tabla was derived from dividing the ancient barrel drum, pakhawaj, into

two segments which became the two drums of the tabla. This is shown in

Figure 1.1. Another famous theory suggests that the two drums evolved

separately. Some other speculations show that thetabla was of Persian origin

from either the nebla drums or the Arabian tabla drums.

Figure 1.1

Although the origin is unknown, the tabla has found its way into

accompanying classical music of North India. It has been simply a classical

rhythmic instrument until late Ustad Allarakha used the tabla as a solo

instrument capable of moods and improvisations. Also to his credit, he is

known for introducing the tabla to the West with world renowned sitar

player, Pandit Ravi Shankar in 1964 in New York. UstadAllarakha’s son, the

famous Ustad Zakir Hussein, has developed new pitch changes in

the tabla as well as new bols, which you will learn in Chapter 2. Now,

the tabla has become more than accompaniment to Indian classical music,

but an instrument used in many genres of music.

The tabla is simply a pair of two kettledrums from India. Let us

examine further what is on the tabla.

The smaller treble drum is known as the daya. This comes from the Hindi

word for “right.” Naturally, if you are a right handed person, you will play

the daya with your right hand. Other courses might refer this drum as

the danya, and “tabla”. I avoid using this word, as the word alone is prone

confusion. In this book, daya or dayan means “smaller drum” and “tabla”

means the pair of both drums. The body of the dayan is made of wood. The

shell is known as the lakadi.

The bigger bass drum is known as the baya which means “left” in Hindi. If

you are a right-handed person, you will play the baya with your left. Other

books and teachers will refer to this drum as the banya, dagga, or

the duggi. I will use baya or bayan as the “bigger bass drum.” The body of

the baya is made of copper, nickel, aluminum or rarely clay, fiberglass, or

wood. The shell is known as the pital.

The drum head is known as the “puri.” On each puri, there are three layers.

The outer rim is known as the kinnar. The middle layer of goat-skin is known

as the maidan, and the black iron layer is known as the syahi. It is also

known as the shahi, or gob. You will notice on the baya that the syahi is off-

center, unlike the dayan, whose syahi is in the center. The explanation will

be more evident in the future chapters.

The outer rim of braid, right outside the playable portion, is known as

the gajara. This is used for tuning with your tuning hammer. You will not nor

should not attempt tuning tabla. Incorrect hammering of the gajara can warp

the sound of your tabla and destroy your puri. Tuning will be taught in

Chapter 34.

The lacing “straps” are known as “tasma.” More expensive tabla use leather

rawhide for tasma, while older and cheaper tabla uses rope. Currently, in

order to avoid tuning and re-heading problems, bolt-tuned tabla is used. I

personally think this is a better option to get, but it is a good idea to consult

your teacher first.

To tighten your tabla, there are wooden blocks called gatta. There are

always found on the dayan drums. Occasionally, gatta are inserted in

the bayan to tighten it.

Lastly, cushions known as chutti, help elevate the drums to allow the

maximum amount of sound to resonate.

Here is a picture of the tabla with labels in Figure 1.2.

Figure 1.2

When learning tabla, it is very beneficial to practice and perform sitting on

the ground in the Indian “yoga” position. This will allow maximum energy on

the tabla. Very rarely is tabla ever played on tables, while sitting on a chair.

It is usually the least recommended posture. Some ashrams and some

players will play the baya on the ground, while they keep the dayan on the

lap, considering the lap as the cushion. This might be pleasing, but it might

become very tiring after hours of playing. In addition, it adds greater strain

to the hand with the dayan hand.

As you have seen these pictures of the tabla pair, they are always on an

angle. For now, you do not have to play on an angle. In fact, it is very

recommended that you have them leveled to the ground. This way, you can

see exactly where you are hitting. It is analogous to a piano player looking at

the keys, initially. Through years of practice, speed and striking judgments

will come very naturally that one does not need to look at the keys. Similarly,

later on, for speed and comfort, you can tilt your daya and baya away from

you. It is a common practice to have the daya and baya facing away from the

player, while the baya and the daya are slightly looking at each other.

Get some time with your tabla. Look and feel it to get an idea what it sounds

like. Without learning any tabla information, your first assignment is to strike

the daya using your index finger. What sound is produced? Do you have a

long resonant sound? Do you have a stiffnonresonant sound? Is it partially

resonant? Work for the resonant sound. This is very difficult for beginners

who have not dealt with Indian instruments. On the other hand,

for mridanga players, this concept should be of no difficulty. Keep trying to

strike the daya using your index finger and aim to get that open resonant

sound. Until you can do this without difficulty, do not move onto Chapter 2.

Every chapter onwards relies on your ability to strike the daya, as well

as baya, to produce an open resonant sound.

Chapter 02: Right Hand Bols

In order to speak the language of the tabla, you must know the alphabet and

the sounds of the tabla language. There are numerous sounds of the tabla.

To identify a particular sound, we use a special set of words for the

corresponding sounds. The words are known as “bols.” It comes from the

word ‘bolna’ which means “to speak” in Hindi. As musician Ali Akbar Khan

once said, “Let the instrument to do the singing for you.” As you learn tabla,

you will later realize that the tabla will do the “speaking.” In order to allow

this concept to hold true, a firm knowledge of bols must be understood.

For students who have played and studied mridanga, some of them may

refer to the term “bol” as mantra. I personally disagree using the word

“mantra” as a substitute for the “bol.” It is a very poor substitute and really a

misnomer for the word as well as the function of a bol. Mantras are more or

less sound vibrations, implied as incantations. Bols are not incantations nor

do they hold known spiritual connection.Bols are the sounds that which

the tabla speaks. Bol is the preferred term and will be used throughout the

course.

In tabla, there is a numerous amount of bols for dayas and bayas,

separately, and combined. There are even combinations of bols that are

considered as an important single unit. Due to this fact and new bols being

invented, only the most important and basic will be covered here.

Some schools and gharanas will require students to

write bols using Devnagari script. It is a good cultural habit to

learn Devnagari. It is useful in reading modern languages such as Marathi,

Hindi, and Nepali. It is also useful in reading Sanskrit religious texts.

However, I will not emphasize using Devnagari. Knowing the bol name and

how to play it is more important, than learning how to write

the Devnagaribols.

When learning bols, click on the picture of the bol in order to hear how it

sounds like.

TUN

Figure 2.1

As I overemphasized in the conclusion of the previous chapter, it is very

important to be able to strike the daya with the index finger to produce an

open, free resonant sound. This is the very name of that technique. That

sound produced by that motion of the dayan is known as “tun.” Listen to

the bol again. You can almost hear it say, “tun.” As Figure 2.1 shows, the

optimal sound will be produced if the finger strikes the syahi. It is

recommended to do that for the optimal sound. Keep practicing this bol until

fully mastered. For mridanga players, this is the same technique used to play

“tā” on the mridanga.

TĀ

http://kksongs.org/tabla/tun.wav

Figure 2.2

Without a doubt, this is the most important bol needed. This is the bol that

given the tabla its famous sound. This is one of the most important sounds.

Many people have much difficult with this task. Therefore, the concept of

“muting” must be introduced.

In order to close the “open resonant” sound from the ‘tun’ bol, a finger

position called the mute or the muting position must be used. This

involves taking the ring and pinky fingers together and placing them on

the maidan and kinnar layers. Some artists even place these two fingers on

the syahi. It is merely the matter of personal taste. Look on Figure 2.2 how

the muting involves the ring and pinky fingers. Some beginners mute with

middle finger, although this is a very poor technique to use when doing fast

compositions. It may be painful to hold the correct and seemingly awkward

muting position, but keep practicing. This position will become natural very

quickly.

http://kksongs.org/tabla/na.wav

On acoustical properties, once you mute the dayan, you form an “imaginary

X” on the dayan. With your index finger, forcefully strike thekinnar where “X”

intersects. This is shown in the demonstration in Figure 2.2. Keep practicing

this bol, as this is one of the most important and most common bols to tabla.

Some gharanas, especially East Indian traditions, will strike

the maidan instead of the kinnar. This is their version of their “tā.” This bol is

referred to as “thā.” Practice this version for very forceful “thā.”

NĀ

Exactly the same as “tā.” East Indian gharanas treat “nā” and “tha” (being

their “tā”) as two distinctly different bols. I don’t. Nā is the same as tā, in this

course.

TIN

Figure 2.3

http://kksongs.org/tabla/tin.wav

This bol is very frequently used in playing tabla. This is perhaps one of the

most confusing bols, as this bol somewhat lacks standard. The common

approach in playing this bol is to apply muting position, as described before.

Instead of hitting the kinnar or the maidan, strike your index finger on the

border of the maidan and syahi. This stroke should be a resonant stroke,

which sounds more muffled than the “tā” stroke. If you are having a difficult

time getting pure resonance in this or the previous strokes, keep practicing.

As mentioned earlier, the common difficulty amongst new tabla players is

the ability to hit something and allow optimal resonance. Once this hurdle is

overcome,tabla playing can be taught.

Beginners attempt playing “tin” will often find it hard to differentiate it from

“tā.” Remember that “tā” is louder, than “tin.”

This stroke will be described in depth later on.

TI/TE

Figure 2.4

Every letter counts. This is a completely different bol from “tin.” Tin was a

resonant stroke. Ti, also known as te, is nonresonant. No “tun” nor “tā”

resemblance should emanate from this sound. This involves the middle

finger striking the center of the syahi. Muting the drum is optional. In faster

composition, it will be impractical to mute the “ti.” The key feature

of nonresonant bols is that you don’t lift you hand as fast as with

resonant bols. Keep practicing this bol.

There are more right hand bols, which will be discussed at an appropriate

time. For now, these five dayan bols are very important to know. Attempt

these exercises. Do not worry about time keeping as of yet. Time keeping

will be important in the tāla chapters. For now, mastery of the bols is very

important. A dash (–) means the bol is held for extra time. Notation will be

introduced in Chapter 6.

BRIEF PRACTICE EXERCISE

Tun – Tā Tun Tin Tin Tun Nā Ti Ti Nā Tun Nā Tun Nā Tun Tun Tin Tin Nā Nā

Nā Tun Tun Nā Nā Tun Tun Nā Nā Ti Ti Nā Nā Tin Tin Nā

AUDIO CLIP: Chapter 2 Exercise

These bols are high pitched and most easily recognized. People will hear

more of this drum than the baya. Considering this fact, constant practice in

http://kksongs.org/tabla/chapter02_files/02_01.mp3

getting the correct sounds with bol names is mandatory. It is a proven

process that proficiency of these bols and playing them will allow you to

literally play any composition. The bols are the basic building blocks of tabla.

The bols are our alphabet, where we make short words. With those short

words, we make sentences, which allow moods and emotions

Chapter 03: Left Hand Bols

In order to speak the language of the tabla, you must know the alphabet and

the sounds of the tabla language. There are numerous sounds of the tabla.

To identify a particular sound, we use a special set of words for the

corresponding sounds. The words are known as “bols.” It comes from the

word ‘bolnā’ which means “to speak” in Hindi. As musician Ali Akbar Khan

once said, “Let the instrument to do the singingfor you.” As you learn tabla,

you will later realize that the tabla will do the “speaking.” In order to allow

this concept to hold true, a firm knowledge of bols must be understood.

Just as the right hand bols are very important to know, left hand bols on

the baya are very crucial to know. The baya produces a deep bass sound. In

the dayan, there is no possibility of changing the pitch. The baya, however,

introduces a possibility of pitch bends. Even though there are not as

many bols involved with baya, the possibility of sounds and techniques

produced with the baya speaks louder than thedayan.

The daya had its syahi on the center of the drum. The baya, however, has

its syahi off-center. Due to its off-center placement, there is a special

position involved for the baya. The baya must be one o’clock with respect

to the player. This is shown in Figure 3.1. The red linesindicate where your

wrist is placed. For mridanga players, the baya is played much differently

than what is “common.” The one o’clock and wrist positioning will be

collectively known as the baya position.

Figure 3.1

KA

Figure 3.2

This is a nonresonant stroke. This is also the stroke with greatest degree of

freedom. The most common approach is to take the enter palm and slap

the baya without lifting your hand. Make no sure no signs of resonance exist.

Notice in Figure 3.2 that the wrist is where the red lines correspond to in

Figure 3.1. The fingers are going slightly outside the drum.

In some cases, “ka” is aimed for the syahi giving it a rough sound. This is

popular for heavy, less classical and loud performances. In classical

performances to “emphasize” a dayan bol, the finger flicks the kinnar giving

it a distant, clear cut sound. This is known as thefinger ka. Some people

refer to this bol as kat, ke, or ki. I will use each term equally. Whether you

play the standard style shown in Figure 3.2, the syahi style, or the finger ka,

it is very important that you obey the one o’clock rule and the proper wrist

positioning. In other words, it must be in baya position.

http://kksongs.org/tabla/ka.wav

Unless stated otherwise, “ka” will always refer to the standard technique of

playing “ka.”

GHA

Figure 3.3

For the left hand, this is the only resonant bol involved. However, this is the

most difficult to play. For the baya position, you can keep your wrist on

standard position. You can get as close as the syahi, but do not attempt to

cross it. With the index finger, strike the maidan to produce a resonant tone.

Do not lift your wrist off the baya. Keep practicing this bol until you can get

the sharp distinct tone. You can use your middle finger, index with middle

finger, or a combination or index, middle, and ring fingers for this bol. Look

at Figure 3.3. Pay special attention at the baya position and how

the maidan is being struck.

http://kksongs.org/tabla/ga.wav

Like ka, there are many ways to approach gha. One way is the have it totally

open with no wrist on the baya. Striking the maidan as described before. This

is usually referred to as the open gha. Practice this style.

Using baya position from Figure 3.1, play the gha bol. This time, while

striking the maidan, slide your wrist toward the syahi, simultaneously. You

should hear a good “swoop” sound or a good pitch bend. Since you slide your

wrist to produce this sweet form of gha, this is referred as the sliding gha.

Practice this style of sliding gha. Be creative! As the sliding causes pitch

bends, thousands of sounds can be made. See what sounds you can come up

with. While you practicing sliding toward the syahi, try playing the

sliding gha where you start at the syahi and slide away from it.

Some people will call it ga, ghe, ge, ghi, gi, gin, and ghin. I use all forms

of “gha.” Each style of gha will be emphasized beforehand.

Formridanga players, there is a full palm “gha”, however that is not used

here at all. I suggest practicing this controlled “gha.”

These are the two main principal bols used for playing the baya. Now is a

great time for practice. Play the following sets of bols.

BRIEF EXERCISE

Gha Ti Ka Gha - Ka Tā - |

Ta Ga Nā Ka Nā Ka Tu Nā Thā Ge Nā Tin Nā Ka Ge Ti Thā

Ta Tā Tun- Gha-- | Tā Tā Tun- Gha--| Tā Tā Tun- Gha--|

Be sure you know how to play every bol before. Play them, remember them,

write them, and study them. The next chapter will develop

complex bols which will help complete our alphabet of our tabla language.

Chapter 04: Both Hand Bols

After dealing with bols of both drums individually, we can finally

combine bols from the baya and the daya together to form a new bol.Tabla is

not an instrument where sometimes daya plays alone and lets baya play

alone. It is also not an instrument where daya and bayabols never mix. This

allows mixing in very interesting ways. We will only do two bols. Of course,

there are countless numbers of bols, butthese two are very important that it

is best to be formally taught these. The other bols will come very naturally

without instruction.

DHĀ

+ Figure 4.1

http://kksongs.org/tabla/dha.wav

“Dhā” is one of the most popular of the mixed bols. “Dhā” is a bol that

comes from the mixing the bols, “gha” and “tā”, “thā” or “nā.” Thus

“Gha + Tā = Dhā.” Just as simple as this equation seems, the fact is just as

simple. You play “gha” on the baya and the “tā” simultaneously. Note on

Figure 4.1 how the baya position is used and the mute is used on the daya.

DHIN

+

“Dhin” is the other important bol to master. “Dhin” is a bol that comes from

the mixing the bols, “gha” and “tin.” Thus “Gha + Tin = Dhin.” Just as simple

as this equation seems, the fact is just as simple. You play “gha” on

the baya and the “tin” simultaneously. Note on Figure 4.2 how

the baya position is used and the mute is used on the daya.

Sometimes, “dhin” is a debated bol, just like “tin.” More about this discussion

will take place in later chapters.

You can see more equations and simultaneous bols.

Gha + Ti = Dhi

Gha + Tun = Dhun

http://kksongs.org/tabla/dhin.wav

With Ka, it is simply emphasis (capitalized letters):

Ka + Tā = Tā

Ka + Tin = Tin

The possibilities are endless.

Try this sample:

BRIEF EXERCISE

dhā dhin dhin dhā | dhā dhin dhin dhā | dhā tin tin tā | tā dhin dhin dhā

dhā ge nā ti | nā ka dhin nā | dhā ti tu tā | tā dhin dhin dhā

Were you able to play the first and second lines without trouble? If you did,

congratulations! You played you very first set of cyclic talas on the tabla! The

first line, for your information, is a very common sixteen beat cycle known

as tintal, and the second were two renditions ofKehrva tal. As I mentioned

earlier, if you know the science of bols and how to play them, you can

virtually play anything. Knowing thesebols and how to play them is half the

battle. There are a few phrases very important in tabla playing which are

introduced in Chapter 5.

Chapter 05: Important Phrases

We have technically covered all of the most important bols to know in tabla.

Of course, there are many more not discussed in the previous three

chapters. They will be appropriately discussed. The bols we discussed above

are found everywhere in all types of tabla compositions and talas. In addition

to the bols discussed, there are important phrases that need to be discussed.

These phrases are really combinations ofbols, but they appear everywhere

that knowing how to play them with skill and dexterity is very important.

Before introducing these phrases, we must introduce new bols.

RA (or TA)

Figure 5.2

We have not discussed this chapter 2, because it was not a fundamental bol.

This is a bol meant for phrases covered soon. This is anonresonant bol on

the daya. On “ra”, there are no muted positions. The index finger hits

the syahi slightly off center to the left. Do not lift the index finger off of

the daya once you hit the syahi. It should sound completely nonresonant. If it

http://kksongs.org/tabla/ra.wav

sounds anything like “tun”, then the “ra” bol was played incorrectly.

Absolutely no resonance should be heard. This bol is also known as “ta” (no

long ā sound). The technique is shown on Figure 5.1.

TA

Figure 5.3

Due to poor transliteration schemes used in English, it is difficult to get the

correct notation for this bol. This bol is a retroflex “T” used in Sanskrit. In

addition “a” is a short vowel. Different pronunciation indicates a new bol.

This bol is nonresonant. Like “ra”, “ta” does not require a mute. However,

the middle, ring, and pinky finger should be stiff together to hit

the syahi, maidan, and kinnar. This should be

completely nonresonant, however, it is natural to hear a very small “ta”

sound. This is natural, but the point is that there should be no resonance.

Like the technique with playing “ra”, the fingers must stay on the daya. The

fingers cannot be lifted off the drum. Figure 5.2 shows the technique.

DA and DIN

Figure 5.4

“Da” (or “do” in Bengali) is a nonresonant bol on the daya. Unlike the

previous strokes, a very muffled and “nonresonant tun” will be produced. By

merely touching the daya when make a mute position, the sound produced is

“da.” It is a very easy bol to reproduce. Remember, when you mute, you do

not lift your hand off the daya. This bol is also known as na. I may

interchangeably use it. Please note the pronunciation is “na” and not “nā.”

Special note about Figure 5.4: The index and ring fingers are NOT touching

the drum. The only fingers touching the drum are the ring and pinky fingers.

“Din” is the resonant version of the “da.” The sound of “din” is so

synonymous to the sound of “tun” that sometimes, it is very difficult to tell

the difference. The main difference, besides playing technique, is that “din”

is to allow that open sound in the middle of a tala or composition. On the

other hand, “tun” is intended for slower as well as for more open

compositions. It is the mute striking to produce a resonant “tun” like tone.

This bol requires practice as well as great dexterity. When “gha” and “din”

are played together, the bol “Dhim” is produced. Most artists call this “dhin”,

using “din” as another “tin.”

Now we know the necessary gaps, here is the first important phrase.

TRKTA = TI + RA + KI + TA

TI RA KI TA

Figure 5.5

This is a phrase that involves for bols, namely “ti”, “ra”, “ki”, and “ta.” Figure

5.5 reviews how to play each bol, and in order. The length of

each bol’s duration is exactly the same. “Ti”, “ra”, “ki”, and “ta” have

exactly the same amount of time. This phrase, when rapidly, sounds like the

distinctive tabla roll. This phrase is said, “ti-ra-ki-ta.” When writing it, you

may choose to write “tirakita.” This book will use “trkta.” Many bols use



“trkta” phrase commonly and many solos and compositions make use of

this bol very frequently.

DHIRKITA = DHI + RA + KA + TA = (GHA + TI) + RA + KA + TA

In addition, “gha” mixed with “ti” in the phrase will yield “dhirkta” The

“gha” bol is mixed in which “ti” to produce “dhi” as the first stroke. “Dhirkta”

is a very common phrase to use. In order to get a crisp and powerful feel to

this phrase, great practice is required.

TIRA = TI + RA

TI RA

Figure 5.6

Merely “ti” played with “ra” following it. Both bols have equal duration.

Since your vocabulary and knowledge of the sounds have expanded, it is

very wise to practice! Practice makes your bols sharper, distinct, and more

powerful. Don’t worry about speed and don’t focus greatly on time-keeping


yet. It will be covered in the next unit. Focus on getting the bols correctly

played.

EXERCISE PRACTICING BOLS

dhā dhin dhin dhā dhā dhin dhin dhā dhā tin tin tā tā dhin dhin dhā

dhā dhira dhira dhā dhā dhira dhira dhā dhā tira tira tā thā dhira dhira dhā

dhin dhin dhāge trkta tun nā kat tā dhāge trkta dhin nā

dhā dhā trkta dhā dhā dinnā tā tā trkta dhā dhā dhim nā

ti ti nā dhin nā dhin nā ti ti nā trkta trkta

trkta trkta dhā dhin- dhā dhā dhin- tā tin- tā tā tin-

dhāge nā ti nā ka tha dhāge nā ti nā ka dhā

dhin dhā dhin dhin dhā tin tā tin tin tā

trkta tā trkta tā trkta tā trkta tā

trkta taka trkta taka din nā; tirkita taka trkta taka dhim nā

dhirkta taka dhirkta taka tin nā; dhirkita taka dhirkita taka dhim dhā

trkta gadigana dhā trkta gadigana dhā trkta gadigana dhā

This has a little of everything we studied so far. Please play this composition

as much as possible and watch your fingers develop strength to build

powerful bols. In addition, you’ll be able to keep up with speed and control

sound much better.

If this book is being used by a tabla guru, this is usually where one year of

training ends. This is my view of a tabla course. Of course, studying with

gurus of other gharanas will have many differing ideas than presented in this

book, such as pronunciation, bol names, and such. The key point is to listen

to your guru’s style and follow it. Once you finish tabla as a whole, you can

use your own terminology. In order to communicate on the same plane, its

best to imbibe your guru’s ideas, while using this book as a guide to help you

play tabla.

abla Bol Reference For the most part, all of the talas presented on KKSongs are expressed in tabla bols. Please click on the picture to hear the bol of the tabla.

Tun. Open sound of the dayan

Ra: Closed bol off-center closed bol on dayan.

http://kksongs.org/tabla/tun.wav


Nā (Tā): Resonant bol using a muted position on the dayan

Tin: Resonant bol using a muted position on the dayan struck on the syahi.

Te: Non-resonant bol on the center of syahi using the middle finger.

Ga: Resonant bol of the baya.

Ka: Non-resonant bol of the baya.

http://kksongs.org/tabla/te.wav

http://kksongs.org/tabla/na.wav

http://kksongs.org/tabla/tin.wav

http://kksongs.org/tabla/ga.wav


+ Dhā: Combined bol of Ga and Nā/Tā.

+ Dhin: Combined bol of Ga and Tin.

http://kksongs.org/tabla/dhin.wav

http://kksongs.org/tabla/dha.wav

tabla link

Documents

drum head

bigger bass drum

dayaordayanmeans smaller

smaller treble drum

drums of thetabla

ancient barrel drum

origin of thetablais

classical rhythmic instrument