10 - Chapter 4 PDF

Chapter — Four
Tab!!, Part (II)

PLAYING PROPERTIES OF TABLA
Chapter-Four 315
Acoustical Properties and Creativity of Tabla, Part (II)
INTRODUCTION
The evolution of arts has been on per with the
evolution of mankind and civilization. Out of the

sixty four art forms, music, painting and sculpture
- ' ' i
have been considered primordial. And music is

considered to be the most influential amongst the
•
above 1
three main art forms. In1 other words, things
1 ] ,i.
■ ( • • ] !
which cannot be conveyeid by; paintings or
sculptures are beautifully rendered by musical

medium. Even where language fails, music can
•' ■ I
reach out. Music is the universal language — the
language of love.
PLAYING PROPERTIES O F TABLA

As it is early said the presen Tabla has not been
acquired its present form in a day. After a long
period with several corrections by different
corrector Tabla has got todays esteem position.

And in-between the period Tabla enriched a great
property of playing matters. For instance, we can
count its own language - the alphabets of Tabla,

different compositions, like Peshkar, Peshkar
Chapter-Four 316
kaida, Kaida, Tukrda, Rela, Gat, Mukhra, Paran,
Laggi, Ladi, Tala, Theka, etc. We can also count its

different rhythmic speed like — normal speed,
middle speed, first speed! etc. and different

rhythmic patterns (laykaries),; like — Adi laya, Biad
j
laya, Kuad laya, etc. ;
To know the Tabla's playing properties properly ! '
some properties are being discussed below:
ALPHABETS OF TABLA
Music is also an emotion which expresses our
feelings by sound motion. According to: Thakur
Jaidev Singh music is as old as emotion . To express

this motion there are to create some sound or ! , 1 :
j . ,v:
sounds and when this sounds Attached with; rhythm

creates musical theme. By the same way when we
express ourselves with the sound of Tabla then it
creates such sound or sounds. That is the alphabets

of Tabla, the unique properties of Tabla on which
I .
depends the language of Tabla.
i Bhartiya Sangiter itihas', by Thakur Jaidev Singh, Page -4,

Chapter-Four 317
Acoustical Properties and Creativity of Tabla, Part (il)
In all Indian language the alphabets are called

'Varna'. Just as these alphabets are used as the
syllables in Tabla playing they are called 'Varnas'.
The nearest English word which can be used in
i
place of 'Varna' is syllable' or 'mnemonics'. The

ancient scholars through their knowledge have
specifically named the different sounds that occur
, , i
when struck to different areas of the slang of a

percussion instrument to understand and explain
them to tHe aspirants. These are called 'Patvarna'
or 'Pathvarna'. Those are also known as

'Patakswara' or 'Pathakswara'. These Patvarna or
PataksjA/ara are presented in spiokeri words or with
melodious tune or by a combination of;both.
The sounds as pronounced by humans cannot be

attained in the same mode oil percussion; nor can
the sounds emitted by the percussion be spoken by

a man. Hencd the sound of the percussion
instruments Were specifically named which are
universally accepted and they are called
'Pathakswara'. Every percussi oh instrument is full
of different alphabets.
Chapter - Four 318
Acoustical Properties and Creativity of Tabia, Part (II)
We find references from different scores which
throw ample light on the existence of percussion
instruments even in the era jbefore Christ. But no

■ f
i
evidence or reference is available regarding the
modes of playing or Pathaksxjvara or their naming.
'Natyashastra' is known to be the first treatise on
dramaturgy. Though it is a treatise on dramaturgy,
yet it gives ample detail on music. We find analysis

of music on - each of the 36 chapters of Natya
■ s j
Shastra, but chapters 28 to 33 are especially
devoted to music, musical instruments and

percussion instruments respectively. Bharat muni
has given a Huge explanation of alphabets for
percussion instrument by which the same
instruments were played for presenting the drama

more beautiful.!
ORIGIN OF ALPHABETS
Since time immemorial, percussion instruments are
used as accompany in the composite art of music
i 1 i
(vocal, instruments and dance). In ancient music we
find references of usage of such percussion

Chapter - Four 319
instruments at some places. Even in mythological

stories there are references of such instruments.
The names of instruments which we encounter in
ancient texts are 'Aghati, Adamber, Vaanaspati,
Bheri, Dardur, dhol, Nagara and Mridang. Mridang
and Pakhawaj are still used in the field of Indian
music. And, in North Indian music, dhol, dholok are
used hugely.
In modern times Tabla has occupied a very

prominent place on the percussion instrument.
Various opinions prevailed in regard to the origin of
Tabla. Some scholars opine that the ancient
instrument Dardur has been modified to the
present Tabla. Whereas some have on opinion that,
Pakhawaj has been broken into two parts for
evolving Tabla. Whatever the wags and means
might have been for origin of Tabla, but one thing is
clear that the Alphabets of Tabla must have
evolved after the origin of Tabla.
A drum being the most aricient form of musical

instruments of the world and bhumidundubhi and
Chapter-Four 320
dundubhi was perhaps the most ancient form of
drums in India. But some are of the opinion that,

damru or dhakka is the first percussion
!
X " !
instrument . Even some scholars also believe that
the science of language was also born from this
damru. ,
Damru, a two-headed small drum which is made

out of leather skin on its both heads,: decorate in
S
the hands of Nataraja. Some Hindu religious are r • :
■ ■ ' I I ■ .
also believed that this instrument is the one which
maintains rhythm in the whole of eternity. Further,

it is interesting to know that the sound emanated
from this cosmic drum is the source for the science
of language1
2.
By this way all the language s tarts from this damru.
Nandikeshwara Kartika has written about the
above aspect and referred, 'at the end of this

celestial dance, Nataraja whirled his damaru in such
1 'MRIDANGAM - An Indian Classical Percussion Drum, by Shreejayanthi Gopal,

Page-2. i
Page-1-2.
Chapter - Four 321
a way that, it beats nine and five times and the

science of language was born1/2
In this respect Nandikeshwar Kartica, one of earlier

writer has written that?: j
5=Tt=TTST^TTSF%
sToTra* sTCTtrrjeTETT^t I
3gn=froT»T: *rrs?rei3Tfat f^T^TSfr
■erTPT fSmWTf f^Ter^T^tSTTPT^T I I
The meaning is, after dancing, Nataraja twirled his

Dakka in such a way that it beat nine and five times
and the science of language was born. And the
above process is known as Siva-Sutra>
However, the origin of syllables of Tabla is based on

j
the syllables of Pakhawaj, and it is due to the mode
of playing these syllables On abla, and then there
is differences in their sounds are pronunciation.

Pakhawaj is an instrument of open syllables as
against Tabla. Now a days, the style of playing
Pakhawaj is being used in playing Tabla also. For

i: • !
!
such specialized style, the style playing various
1 'IS/IR1DANGAM - An Indian Classical Percussiqn Drum, by Shreejayanthi Gopal,

Page-2. j 1
Page - 2.
Chapter - Four 322
syllables has to be modified as for as 'Dhumakita' is
played as Dinakita.
At Tabla-Vijnan, by Kamruzzaman Moni, it is also
mentioned, how these syllables changed and they
have evolved to their present state, which is as

follows1:
Takka DhTkka Thunga Nanga

sb
Tak DhTk Thung Nang
Tat DhTt Thun Na
NUMBER OF ALPHABETS
While playing the sounds emitted by the left and
the right parts of a Tabla or by synchronizing both
by playing both simultaneously are called alphabets
or syllables of Tabla. Scholars differ on the manner

of such syllables. Some say that, there are only
seven alphabets, some are for ten alphabets and
even sdme are opine to fourteen alphabets.

1 'Tabla-Vijnan', by Kamruzzaman Moni, Page - 3.
Chapter - Four 323
Lt. Prof. S. K. Saxena guruji also prefers seven
alphabets for Tabla instrument. Even Guruji prefers
seven alphabets, but, also : ascribed a total of
fourteen alphabets, seven from the dahina and

i
seven from bayan. In this respect Guruji said, 'they

(the alphabet) have always; been an object of
controversy........ anyway, two; main: views on the

! ■
matter may here be referred to. According to one

view, there are as many as ten basic alphabets of
tabla rhythm. According to the other View, they

number only seven, like the [seven basic notes of
music. In my humble but considered opinion, the
second view is preferable, in respect of each of the

two drums that make a tabla set; and I say so on
the basis of the hard evidencejof the actual practice
! i '
of rhythm. I ascribe the following seven;alphabets
cfj, fcr5 oT, s,

-"sr, cr = (ta, tin, na; ra, ta, da, tra)
to the danya ( or the right hand drum); and the
following seven to the bayan (of the left one): er, "tr,
gf>, ia?r, "arcr (gha, ghey, ghee, ka, ke, kee,

kat)1.
1 The Art of Tabla Rhythm - Essentials, Tradition and creativity, by Sudhir Kumar
Saxena, Page -14. j
Chapter-Four 324
According to Bhagvatsharan Sharma, the numbers
of main alphabets of Tabla are ten and these are:
Dha, Ga, Da, Ta, Ra, Ka, Ta, Na, Gha, and Ra (sr "3T
T <r "sr "5R” "2T ~af sr ~s . The tala from Pakhawaj

playing style, some times Ma (sr), and Tha (sr) bols
are also played1.
Mr. Sharma again added that, if we give our

attention then the alphabets of Tabla are found
seven only, which are: Dha, Ga, Da, Ta, Ra, Ka and
i
Ta (sr w cT "sr ?f> Others are created
from these alphabets. For example, Na is the
alternate of Ta and by the same way Da is the

alternate of Ta and Gha is the alternate of Ga2. And
generally it is seen that, the above bols are also
produced by the same way which will be discussed

ia little later.
The number of syllables of Tabla and Pakhawaj

differ from scholar to scholar. In the book 'Tabla
Vijnan' of Kamrujjaman Moni it is mentioned that
'Taal-Prakash', by Bhagvatsharan Sharma, Page -29.

'Taal-Prakash', by Bhagvatsharan Sharma, Page -29.
Chapter - Four 325
Acoustical Properties and Creativity of Tabia, Part (li) j
in ancient times there were five hundred and
eighty six (586) syllables, which with the passage of
time have been limited to ten (10).
In connection to numbers of alphabet Shree Vasant

has written that1
2,
m ftroT fcT27 fcToT oTT cJT S-fr, cIT fcb" WT 'fagR'l
wa* * worof t, I
The meaning is, there are ten alphabets for Tabia,
Dha, Dhln, TTta, TTn, Na, Ka, DhT, Ta, KT and Katta
and practice these alphabets. I
However, even there are different opinions about
the numbers of alphabet, but majority of them
believe that there are ten syllables, which are:
1. Taa or Naa (err ’an an)
2. TiorTin (1% fet)
3. Tu or Tun (cj ^rr <j^)
1 'Tabla-Vijnan', by Kamruzzaman Moni, Page - 3.

2 Sangit Visarad' by Vasant, Page - 361.
Chapter - Four 326
1—<v • —I /Y*\ «, .________\

4. Din or Thun (t$r w sjoT)
. Te or Ti (or W for)
. Re orTe (sF wr
7. Ka, Ke, Ki or Kat ( m, cft, 1%, wr mc()
8. Ge or Ghe (at "aT ^r)
9. Dha (sir), and
10. Dhin (f£r).
TWO TYPES OF ALPHABETS

As we know that the knowledge of alphabets is
necessary to learn educational knowledge as well
as it is also necessary to knpw the alphabets of

i
Tabla to play it. In accordance of playing manner
the alphabets of tabla are divided mainly in two
divisions:
A. Simple alphabets, and
B. Joint alphabets or Combined alphabets.
SIMPLE ALPHABETS:
Alphabets which are played by only one hand may
call simple alphabets. For instance,

Chapter - Four 327
Taa or Naa (ciT on), Ti or Tin (fcr w fct), Tu or
Tun (cjr w cjor;), Din or Thun 1# w £Jot), Te or Ti (cf
w fcr), Re or Te (^ w ■£•), Ka, Ke, Ki or Kat ( w, cft,
1%, ^rr Wet), Ge or Ghe (#r w i^r), are the simple
alphabets.
JOINT ALPHABETS:
Alphabets which are played by using both of hands
at the same moment or strike simultaneously may
call Joint alphabets. For instance, Dha (st), Dhin
(fir) are the joint alphabets.
Simple alphabets again have 'been divided by two
divisions:
Aj. RIGHT HAND'S SIMPLE ALPHABETS:

Generally alphabets played by right hand or
dominant hand are counted as right hand
alphabets. These are the right hand's simple
alphabets, Taa or Naa (err <rr art), Ti or Tin (fcr
fcf), Tu or Tun (<j w cj^r), Din or Thun w Sjar),
feofTi (cf fcr), Re or Te (^ w ■£■).

Chapter-Four 328
Acoustical Properties and Creativity of Tabla, Part (11}
A2. LEFT HAND'S SIMPLE ALPHABETS:

Generally alphabets played by left hand or non
dominant hand are counted as left hand's simple
alphabets. Ka, Ke, Ki or Kat ( 97, cfT, f^7, w ■979;)
and Ge or Ghe (at 9rr tr), are the left hand's simple
alphabets.
ALPHABET'S PLAYING MANNER

It is a reality that, there is no alphabet or alphabets
either of dahina Tabla or bayan Tabla which is
produced from a fixed place. Here is an important
point may be noted that, one alphabet which is
produced from a place of a pudi, the same alphabet
can be produced in different ways, at different
points of the pudis. And, even, the same alphabet
also can be produced by different fingers also. It is
totally a psychological fact and measurement of ear
and for this reason the alphabet one played from a
place of a Tabla is differed from another even it is
played on same place and same manner. So, the
placement of fingering is also differed from person
to person.
Chapter-Four 329
However, even, it is varied from person to person,
there are some indications is being explained to
produce alphabets in general jway. These are being

j
discussed below:
TAA OR-NAA (cTT W oft):
To achieve this note the ring finger and the little
finger should be
kept in a crescent
shape on the Tabla

near the edge of the
shyahi and the ring
finger's edge should
Fig. 4.1, Taa, played on dayan Tablfc by
index finger. touch the edge of
the shyahi and the middle fin ger should be kept in
i
!
such a way that it should not come in contact with

the Tabla and the index finge should be struck on
the chanti and should be taken off immediately so
as to allow the sound to resonate, this is how Taa

syllable is played.
S i ' .
In the language bf Tabla syllables Taa and Naa are
both the same but according to different styles of

Chapter - Four 330
playing they both can be seen in different forms by

playing it on the different afeas of the Tabia by
different fingers. E.g. when the kinar of the Tabia is
struck by the index finger the syllable achieved is
called both Taa and Naa.
During the process of tuning the Tabia when the

little finger , is
struck on the
place between
shahi and kinar
the sound that is
produced due to
Fig. 4,2, Taa, played on dayan Tabia by ring
the resonance of finger.
both the areas i.e. shyahi an d kinar is also Called!

Taa.
Some scholars are of the view that Taa and Naa are
same but some opine the opposite. Some say that
they are played from the same area but their mode
of playing is different. The only difference here is
that, while playing Taa when the index finger is
struck in such a way that it emits a little close
Chapter-Four 331
sound it is called Naa in which while playing Taa the
finger is not immediately taken off from the Tabla.
According to Girish Chandra Shrivastava Taa and
Naa are both played on almost the same place but
while playing Taa the index finger is slightly
towards the Lav and the sound is allowed to

i
resonate. Unlike Taa, Naa is played only on the
chaati1.
According to shri Pushkar-raj sir both Taa and Naa

are the same and they are played in almost the
same manner but there is a different in their

pronunciation. The only difference is that the
stroke for Taa is stronger tha n Naa and the sound
produced while playing Naa is thus melodious2.
However majority of the schol ars are of the opinion

•: _ - !
that Taa and Naa are the; sa me syllables but they
are differentiated in order to achieve the comfort

' I
while speaking. Also accord ing to the linguistic
capacities of the people of different areas there can
1
Taal-Parichay, Part-1, by Girish Chandra,Shrivastav, Page-21.
2
Shrjee Pushkar-raj sir on personal interview.
Chapter-Four 332
be a further difference in their pronunciations. The
highest used alphabet of Tabla is taa.
Tl OR TIN (fcT "^rr fcf):
The ring finger and the little finger are to be placed
on the Tabla in
crescent shape in
such a way that the
front portion of the
ring finger touches
the edge of the
shyahi. The middle Fig. 4.3, Tin,played on dayan Tabla.
finger should be kept
in such a way that it should not come in contact

with the Tabla. The index finger is to be struck on
the maidan i.e. between the shyahi and the kinar.

The sound thus produced is 'tin'.
TU OR TUN fcT cJT 35*):
Generally 'uu' is not used in Tabla but art is not

limited to any one country or one area. Any form of
art naturally reflects in it the customs and the
mannerisms of that area and so the language of the

Chapter-Four 333
art form is also affected by the area of its growth
and development.
; And thus according
I to the linguistic
| capacities of the
: people of different
*
areas 'tun' and
Fig. 4.4, Tun, played on dayan Tabla. | ,thun, both are
i
\
used. Whereas in reality therje is no such syllable

i
but even if it is considered there is nothing wrong
in it because some words andisyllables of Tabla are
also used in dance, pakhawajj and Tabla as also in

j
nagada. All these are assimilated and with a view

to use it as an accompanimelnt e.g. while playing
i _ '; ,
Tabla as an accompaniment! with dance 'tat tat
thun thun tigdha dig dig thai' are to be played in

spite of the fact that these syllables are barred in
Tabla. Thus while using Tabla as an instrument of
accompaniment the syllables which are played in

this way can be called 'tun' or 'thun' or 'dhumkit' or
even Tit Tit Thun Thun NaDha Tirakita Dha. It is

i ’ •
totally depends on imagination and mood of a
performer when he played Tabla.

Chapter-Four 334
DIN OR THUN (f^ 13T g^r):
As early said, generally 'uu' is not used in Tabia by
the same way the open syllables are generally not
played on the Tabia, however, there are some
syllables of the open category which are played on
the Tabia and Din is one of them. Many of the
syllables played on the Tabia are taken from the
Pakhawaj and din is also taken from the mode of
Pakhawaj playing. According to shri POshkar-raj sir
Din and Tin are the same as far as playing them is
concerned but for the comfort of speech they are

pronounced differently1. E.g. while speaking we
speak 'din din tita tita' and not 'tin tin tita tita'. As it
is not comfortable while rendering them through
speech.
The stroke Din is
achieved when the
front portion of the
shyahi with all the
four fingers kept

Fig. 4.5, Displayed on dayan Tabia.
Shree Pushkar-raj sir on personal interview.

Chapter - Four 335
straight together in such a manner that the base of

the fingers is first struck on the gajra and then the
fingers are struck on the shyahi. In case of Thun the
only difference is that only the index finger is struck
on the frontal portion of the shahi. However in
both the cases hand is to be lifted immediately to
allow the sound to resonate.
TI_J£_TE-(cT '2JT fcr): When the front portion of the

middle finger of right
hand is struck on the
right Tabla in the
center of the shyahi in
such a way that the
sound is not allowed
Fig. 4.6, Ti / Te, played on dayan Tabla
by Delhi or Ajrada style. to resonate it is called
TI or TE. In playing so in the Ajrada and Delhi
gharana the ring finger is lightly place on the
shyahi. Whereas in other ghafanas the middle, ring
and the little fingers are together struck on the
middle portion of the shahi for achieving 'ti'.
Generally, in Bengal region te used mostly but
other places ti used mainly.
Chapter - Four 336
According to piaying styles of different gharanas
there is a difference in the playing of Ti syllable.
Sometimes in place of
middle finger, the
middle finger ring

finger and the little
fjinger are together
jig. 4.7, Ti/Te, played on dayan Tabla by ! _ , othpr timpq
all gharanas except DelM or Ajrada. Msea Or at Otner times
cjnly middle and the
ring finger are struck on the shyahi. While playing

the group of syllables sometimes these are used to
play 'ta' or 'te'. e.g. while play‘ng 'tirakita' 'fra' is 'tj'.
Here't|'and'ta'is the same alphabet.
While playing some syllables like 'tirkit' in place of
't' sometimes stoke is made e ther by middle finger

or ring finger and some times by simultaneously i . , .
i :
using the ring, middle and the little finger. Just like
in Delhi gharana while playing 'tirkit' 't' is played by

the stroke of the middle finger. In Ajrada ring finger
is applied while playing't'. And in Farukhabad't' is
played by simultaneously 'striking the ring, middle
and the little finger.

Chapter-Four 337
According to shri Pushkar raj Shridhar, 'ti' and 't'

are played on the middle of the shyahi from the
same place but the only difference is the pressure
applied while playing.
RE OR TE fir ~5?T
On the center of the shyahi of the right Tabla where
'ti' or 'te' are
played on the same
place (a little left
side) the index
finger is struck in
such a way that the
Fig. 4.8, Ra, played by all gharanas except
Delhi or Ajrada style. sound is not
allowed to resonate, it is called 're' or 'te'. Since the
sounds of 'ti' and 'te'
are the same for
comfort of playing 'te'
can be played in place
of 'ti'.
Fig. 4.9, Ra, Played on TablA by

Delhi or Ajrada Style. 'Re' is not a syllable of
Chapter - Four 338
Tabia but for the linguistic comfort while rendering
the padhant 're' is used but the syllable is 'te'.
HT OF THE 'DHIR DHIR' CATEGORY:
There is another category of the 'ti' syllable in
which the whole palm is used while playing it. The
right portion of the right palm is struck on the
shyahi to play this kind of 'ti'. While playing 'dhir

dhir' this 'ti' is used. While playing this 'ti'
simultaneously playing the 'gha' syllable from the
left Tabia 'dhi' syllable is achieved.
In this respect Prof. Saxena gurujee said, 'another
very important point to note is that there is not

even a single
alphabet of the
Tabia (the right one)
or of the bayana
(the left one) in the
production of which
Fig. 4.10, Ti played on dahina Tabl* by palm. twQ fingers are
applied simultaneously, except on the i/ery rare
occasions when the player wishes to lend a little

Chapter-Four 339
extra inflection or weight to a particular bol. But a

protest is possible here. Is it not a fact that while
executing the bol fitrR'-firsF (dhir-dhir) all the fingers
and the palm too are used collectively? But to this
my ready answer is that the bol in question is
specifically a compound alphabet of pakhawaj
playing. Today/ of course, this alphabet is freely
played on the Tabla by one and all. I personally
believe that this particular alphabet was perhaps
introduced mainly by maestros of Farrukhabad
gharana, the repertoire and playing idiom of which
build heavily upon pakhawaj jmnemonics, specially
ftra-(dhir)1../
*RA* OF THE 'DHIR PHIR' CATEGORY:

When the left portion of
the right palm is struck
on the shahi of the right
hand Tabla this kind of
'ra' is achieved.
Fig.4.11, Ra played on dayan TablA
by palm.
1 The Art of Tabla Rhythm, Essentials, Tradition and Creativity, By Sudhir Kumar
Saxena, Page no -14,15.
Chapter-Four 340
'TAK' OR 'TAT:
Now we shall examine the mode of playing the
syllable 'tak' which is also called 'tat'. This syllable is
also played from different areas and in different
styles according to the patterns of 'bol bandish' or
the group of syllables which are to be played.e g.in

the form of 'tak' it is played on the kinar while
- i
playing in the group of "din tak din din tak din' by
1 -:i .
striking the index finger on the kinar.
Whereas while playing 'tak din dina gma tak din

j
dina gina' stroke is to be made

..... j
on the maidan by
the index finger.
Now there is one more var iety of "tak" Which is

I
played by striking the middle finger on the shyahi
just as we play 'ti' on the Tabla but the only
difference here is the jpre ssure applied while
striking the finger.
One more "tak" is there which is played by keeping

the middle and the ring fingers together and are
j
struck on the shyahi. This variety is used while
Chapter - Four 341
playing the group of syllables like 'takitdhina

dhagena dha dhagena dhatrak dhage dhinagina7.
There is one more

'tak7 which played by
all the gharanas by
striking in the center
of the shahi by all the
Fig. 4.12, Tak, played on dayan Tabla. four fingers keeping
them stretched towards the player. This is used
when while playing the group of syllables in which
the syllable 'tak7 comes in the middle, e.g. 7dha
dhitak din dina gina tak din talk din dina gina7.
'PA':
This is also called 'ta7 or 7ra7. This is also pronounced
according to the
group of syllables to
be played according
to its placement in
the group of syllables
■ '“to,; ^“Liriiy Index'rmge^to facilitate easy
rendering in the execution and in the padhant.
Chapter - Four 342
Sometimes 'NA' is also called 'DA' e.g. 'dha
ghidanaga din dina gina' or 'dha ghin naka din dina
gina'. In both the groups either 'da' or 'na' both are
the same and played in the same way. While
playing 'tdan' the index finger's front portion is
struck on the kinar.
NA:
It is played on the
shahi by striking the
ring finger in a very

light way. Sometimes it
is also played in the

Fig. 4.14, Na, played on dahina Tablfr.
form of the syllable by ring finger.
'da'. Generally, the playing manner of 'ta' (played
by Ajrada style) and 'na' is same, but, the pressure

is different. While na is played very lightly but, ta is
played more loudly with more pressure then na. it
is a very soft stroke on dahinaiTabla.
Now we shall examine the syllables played by the

left hand on the left Tabla or the dagga.
Chapter - Four 343
KA, KE, Kl, OR KAT ( cfT, ifc m <3kT):

These syllables can be achieved by striking the palm
with all the fingers joined on the pudi of the baya
Tabla or the daga.
Some scholars believe
that 'ka, ke, ki, kaa, or
kat7 are all the same
syllables but for the
Fig. 4.15, Ka, played by whole palm.
linguistic capacity they
pronounced differently. But some scholars say that
when the whole palm is struck with more pressure
then 'kat7 is played.
There are other ways of playing ka which are as

follows:
1. By placing the
cushion of the left
i
pjalm on the baya and
by folding the fingers
and striking the baya.
Fig. 4.16, Ka played by nails of left
hand’s fingers.
In the 1 boi bandishes
Chapter - Four 344
where ka is to be played repeatedly this type of

practice is comfortable.
2. Sometimes to enhance the sound of 'ka" all the

four fingers (except
old finger) of the
left hand are struck
on the shahi of the
baya. To play thapi
this type of ka is
Fig. 4.17, Ka, played on shyAhi. used. This type is
also used while execution 'of parans, tukda etc.
Some times, to start a laggi or ladi or at the point
of changing any pattern on light music it is also
used.
3. Sometimes the index

finger of the left hand
is folded and struck
on the kinar of the
baya to play 'ka'.
Players use this type Fig. 4.18, Ka, played by index finger.
of method in execution of the peshkars mostly.

Chapter - Four 345
GA OR GHA:
The cushion of the left palm is rested on the lower
i.
edge of the shahi of the baya and either the middle

or the index finger is struck
on upper edge of the shahi
on the lav or maidan by
stretching it towards self.
Fig. 4.19, Ga, by index finger. There is one more option
for this in which instead of the index finger or the
middle finger, the ring finger and the middle finger
• i
i .
are kept together and stretched towards the player
- i • '! ■
I -
and struck on the upper edge of the shahi on the

lav or maidan.
Some scholars also believe that the , sound

produced by the index
i
[
finger
-
is called 'ga' and
the sound produced by
striking the middle finger
is called 'glia'. Or the
|
sound produced by
Fig. 4.20, Ga, played by middle and 1 '
! . I
ring fingers. striking the middle and'
Chapter-Four 346
Acoustical Properties and Creativity of Tabla, Part (11)
the ring finger together is called 'gha which does 7
not seem to be correct.
However it can be precisely said that the sound of

low frequency can be called 'ga and that of high 7
frequency can be called 'gha7. It is also said that 'ga 7
is played only by the ring finger. Both 'ga and 'gha 7 7
are very important syllables in Tabla playing.
While executing these syl ables sometimes a

meend enabled sound is achieved by sliding the
palm with pressure towards Ihe front of the baya.
This is called 'ga' with the gamak. This enhances the

beauty of the sound and syllables.
PHA:
It is a
combined or
joint alphabet
and while
playing the
Fig. 4.21, Dha. played on dayan and bayan
syllables 'ta dr7
simultaneously.
'na on the dayan Tabla and ga or 'gha on the

7 7 7 7
Chapter - Four 347
baya Tabla simultaneously syllable 'dha' is

achieved.
PHIN:
It is also a combined alphabet. While playing fti' or
Fig. 4.22, Dhin, played on dayan and bayan simultaneously.,
'tin" on the right hand Tabla and 'ga' or 'gha' on the

left hand Tabla simultaneously the syllable 'dhin' is
achieved.
Even here is discussed about a huge quantity of

alphabets produced from dahina and bayan Tabla,
but, if we make a deep look on this matter then we
can see that, the main alphabets of Tabla are only
seven. These are:
1. Ta or Na (cu w ~m)
2. TT or Tin (from chanti) (fct ^rr fct)
Chapter - Four 348
3. Tun or Thun (cjof gfoT )
4. Din (f^)
5. TT / Ta / Te / Ra (fcr sn ^ ist cT m -sr)
6. Ka / Ke / KT/ Kat (
7. Ga/ Gha ("3T ^rr ■&)
m, ^ fcF, "OT cffcx)
And other alphabets which are the alternet

patterns of these above alphabets and can be
created with the help of above alphabets.
Tabla is a pair of two one faced instrument. Its

making makes it easy to play with the stroke of
fingers rather than with the stroke of entire palm.

Due to Tables structure and modes of playing, the
sound it produces is very sweet and soothing. SRA
also find it on their experiment, while they have

made scientific studies of the acoustic characters of
sounds from different typ^s of drums. These
include:
(i) Tabla and Bayan, (ii) Pakhawaj (iii) Mridanga,
(iv) Dholak (v) Dhol (vi) N^qqara, (vii) Ghatam
Chapter-Four 349
and (viii) Dhak. But, they find the sweetest

sounds are produced by Tabla and Bayan1. 2
However, the each and every parts of a Tabla has
an important part to produce this delightful sound. i ’ '
- i .j
But, the shyahi is the most distinctive part of the
1I j■ ]
Tabla and has a greater impact upon the tone then
any other part. We also; get this point from
Britannica Concise Encyclopedia Article, where
writes, 'a disk of black tuning paste on the

membrane of each drum affects pitch and gives it
characteristic overtones .'
The great physicist C. V. Ram;an also emphasis this

point and wlrites, The inhomogeneous membrane
so constructed has remarkable acoustic properties.

The lowest tone and the first overtone of the drum
arise from the vibrations without an inner nodal
line and with a nodal diameter respectively. Both
these tones; ;are more or less in the ratio of a

1, Ii ' •
fundamentanto its octave. The vibration with two
1 An Overview of Indian Drum Sounds, Vol - XXIV, 1996, Published by Sangeet

Research Academy, Page no. Ill -1.1
2 Britannica Concise Encyclopedia, Version: 2008.00.00.000000000.
Chapter-Four 350
nodal diameters has the same pitch as the vibration
with one nodal circle, and is indeed the quintet of
the first overtone exactly. The pitches of both the
next higher modes of vibration with three nodal

j
diameters, and one nodal diameter and a nodal
circle respectively are again identical and lie on

octave higher than the firs t overtone. Similarly
three higher modes of vibration combine to five the
fifth harmonic overtone. These results have been
achieved by the careful arrangement of the load

when the drum head was made .
The following work is experimental, which has been

done with the help of a respected Physics teacher2.
Physics Dept. Faculty of Science, M. S. University of
Baroda.
To; complete this experiment, first of all, a total

■ =! . ■
of about 350 strokes on d'fferent instruments
1 Musical Instruments And Their Tones, by C V Raman, From - HANDBUCH DER

PHYSIK, Page no —555. ! 1
2 Experiment has been done and lot of Physical ferms understood with the help of
respected IM.V. Patel sir.
Chapt^JFbiir
Acoustical Properties and Creativity of TablafPart'
like Tabla, Pakhawaj and Dholak were ra
by different expert players in a digital st
Where different types of Tabla like, Tabla with
complete shyahi, Tabla with incomplete shyahi
and even without shyahi were used. And
secondly about 200 strokes of different pitches
sound of Tabla and Pakhawaj were recorded;
those were made through software and
electronic Tabla instrument like Swar-Shala and
Ryaz-Master. And even then, some of
'Peshkar', 'Kaida', 'Tukda' 'Rela', 'Gat',
'Mukhras', 'Paran', 'Laggi', 'Thekas' for different
Talas, etc. were recorded, produced from
software as well as by playing different players.
And finally after recording the above sounds,
wave spectrum and amplitude were made

through Spectrograml41 and hence analyzed
with the help of a physics teacher, Physics
Department, Faculty of Science, M. S. University
of Baroda.
1 At first we have tried for wave spectrum and amplitude through oscilloscope, but failed to get
pleasant graphics then tried by other programs and finally selected Spectrograml4 for its good
analyzing quality and pleasant graphics manner.
Chapter - Four 352
PROCESS OF DATA VIEWING

The 3D spectrum is shown the overtones and
their decay. Each and every data are presenting
here by showing 3D spectrum where time is on
the X axis marked by vertical line on every
seconds, frequency is on the Y axis marked by
horizontal lines at 40 Hz, 50 Hz, 60 Hz, 70 Hz, 80
Hz, 90 Hz, 100 Hz, 200 Hz, 300 Hz, 400 Hz, 500 Hz,
600 Hz, 700 Hz, 800 Hz, 900 Hz, 1000 Hz, 2000 Hz,
3000 Hz, 5000 Hz, 6000 Hz, 7000 Hz, 8000 Hz,
9000 Hz, 10000 Hz, and 20000 Hz and their
amplitude is indicated by the depth of blackening
on "3D spectra' at bottom to top.
Sometimes alphabet and other compositions are
also presented by showing frequency verses
amplitude pictures, where frequency is on the X
axis and amplitude is on the Yaxis.
The analyized frequencies may be varied from
±10 to ±20 Hz in different overtones and time
also may be varied from ±3 to ±5 milliseconds.

Chapter-Four 353
Acoustical Properties and Creativity of Tabla, Part {11}
ALPHABETS EXPERIIMIiilMT
TAA OR NAA (cTT '2TT oTl):
The strokes 'Taa' is made with the index finger of

dominant hand on the right hand Tabla. The stroke
Signal
20000
10000
/soap’
. 3000
: 2000. ■
1000;*
, ; 500
. 300 **
200 .
• '100'% •
50--’-T
Fig. 4.23, Taa alphabet played on Tablfc by index finger with complete shyAhi.
excites first over tone at 244 Hz frequency strongly

with 30dB spect of
level and it lasts
for 1157
milliseconds. The
strongest second
harmonics creates
Fig. 4.24, Power spectra of Taa alphabet
played by index finger on right hand TablA. on 428 Hz
frequency by 27dB. It lasts for 1616 milliseconds.
The -3rd, 4th and 5th harmonics emanate on 644 Hz,
Chapter - Four 354
874Hz, and 1098Hz frequencies by 35, 30, and 40

dB intensities respectively. The 6th harmonic is very
weak at 1314 Hz and last only for 117 milliseconds.

The 7th is again strong at 1511 Hz by 37 dB but 8th is
again weak at 1753 Hz by 27 dB intensities. The 9th,
10th, and 11th harmonics emanates on 1988, 2268
and 2484 Hz frequencies by 31, 27 and 31 dB of
intensities respectively.
It is also shown that harmonics are varied even the
same alphabets
played by same or
different experts.
For instance, in
fig.4.25,(a), where
second harmonics
Fig. 4.25, The stroke Taa’s different readings
by different experts played on dayan TablA. is the Strongest
one at 428 Hz but fig4.25,(b) and fig. 4.25(c) shows
that first harmonics at 606 Hz and 606 Hz
correspondingly is stronger then others. Here a
point is noted that, clear harmonics are analyzed
from each 3D spectrum but, even then there are
several harmonics are cited but not cleared.

Chapter-Four 355
Shyahi is a great factor for creating harmonics. The

following pictures fig.4.26 shows that clearly.
Where in
first picture,
stroke is
taken on a
dayan Tabla
with
complete
Fig.4.26, Taa played on dayan Tabl^with a). Complete
shy hi, b). Incomplete shyahi, and c). Without shy&hi. shya hi and
it produces several clear harmonics. But in second

and third spectrums, strokes were taken on Tabla
with incomplete shyahi and without shyahi
emanate damped and one harmonic respectively.
Fig. 4.27, Taa played on a complete a). Tabl*, b). Pakhawaj, c). Dholak and d). Electronic Tabla,
Chapter - Four 356
Taa stroke were taken by different instruments

covered with complete shyahi. Taa stroke is taken
on Tabla, Pakhawaj, Dholak and by electronic Tabla.
Each and every spectrum, harmonics are showing
clearly but different positions. In first spectrum the
stroke excites first overtone at 244 Hz, in second
spectrum at 292 Hz, in third spectrum at 717 Hz
and in fourth spectrum at 545 Hz.
Tl OR TIN (fcT ‘STT fcf)
The alphabet Ti or Tin is a sweet stroke emanates

by striking in-
between on the
edge of a dayan
pudi and shyahi
with index finger
while ring finger
is touched on
Fig.4.28, The stroke Tin’s two different readings
shyahi softly. In played on dayan TablA with complete shyahi.
fig.4.28, (a), the stroke excites strongest first over

tone at 606 Hz frequency with 21dB spect level arid
it lasts for 711 milliseconds. The little weak second
harmonics creates on 428 Hz frequency by 27dB
Chapter-Four 357
and lasts for 213 milliseconds. The 3rd, 4th and 5th
harmonics emanate at 1185 Hz, 1511 Hz, and 1814
Hz frequencies by 24, 35, and 17 dB intensities

respectively. The 6th, 7th, and 8th harmonics are very
weak at 2113 Hz, 2423 Hz, ajnd 2737 Hz by 25db,
24dB and 25dB respectively.
On the other hand in fig.4.28 (:b) the Same stroke
played by different expert on ; different Tabla

emanates only four overtones.! The stroke excites
strongest first over tone at 427 Hz frequency with
21dB spect level and it lasts for 1702 milliseconds,

where the 2nd, 3rd, and 4th overtones are weaker
then first one and emanate at 644, 874, and 1098
Hz by 26d B, 16d B
and : 21dB
respectively.
When we go for
different type of
Fig. 4;29, The stroke Tin played oil dayan shyahi uses like
TabKwith a). Complete shyAhi, b). Incomplete
shy*hi, and c). Without shyAhi. COrnplete shyahi
incomplete shyahi and without shyahi then the

Chapter - Four 358
readings of this same stroke is changed also. In

fig.4.29 (a), (b) and (c) is shown that clearly where
in first object tin is taken on Tabla with complete
shyahi and creates six overtones. In second object
tin is played on Tabla with incomplete shyahi
created only three overtones and in third object tin
is damped, played on without shyahi Tabla.
We also get several different readings for same

stroke (Tin) when it is played by different experts
on different instruments. For instance, in fig.4.30
(b) tin is played on right side of pakhawaj by
dominant hand's index finger and emanates a
strong and long first overtone at 292Hz by 24dB.
Fig. 4.30, The stroke Tin played with complete skyAhi on a). Tabla, b).
PakhAwaj, c). Dholak and d). Bv electronic Tabla.
\The total of six overtones are counted by this
stroke, where in fig. 4.30(c) only one clear overtone
Chapter - Four 359
is founded at 717 Hz by 41dB. The tin stroke played
by electronic Tabla machine creates a total of six
overtones at 545 Hz, 816 Hz, 1088 Hz, 1386 Hz,
1981 Hz and 2301 Hz by 32dB, 33dB, 25dB, 24dB,
34dB, 32dB respectively.
TU OR TUN (g m ^50
Tun is an open and strong stroke for right hand
Tabla, which is ; Signal
• 20000
1 OQ’pO
also played by
- .5000
3000
different ways. , .2000
> • 10OO
•
m w y i'
In fig.4.31, it
00 a0 - 0Q
shows that, the 100:.
* ' SQ;
first strongest
fundamental is Fig. 4.31, The stroke Tun played on dayanTabl*.
created on 340Hz frequencies by 42dB. And it lasts
for 1153 milliseconds. The second harmonic is also
strong but weaker then first one at 606Hz by 24dB
and lasts for 986 milliseconds. The other harmonics
emanate at 887 Hz, 1203 Hz, 1511 Hz, 1814 Hz, and
2145 Hz by 28dB, 15dB, 12dB, 13dB, 18dB
respectively. Some times Tin and Tun also mixed up
by players.
Chapter - Four 360
When we compare the same stroke Tun by playing
on different Tablas like complete shyahi,
incomplete shyahi
and without
shyahi then we
can see that, the
stroke is able to
create clear
Fig. 4.32, The stroke Tun played on TablA overtones on a

with a). Complete shy hi, b). Incomplete
shyahi, and c). Without shyAhi. Tabla pudi with
complete shyahi {fig.4.32, (a)}. The same stroke
also creates three overtones at 591Hz, 928Hz and
1338 Hz by 52dB, 38dB and 34dB respectively on
Tabla with incomplete shyahi {fig.4.32 (b)}, but on
Tabla with without shyahi {fig.4.32 (c)} it is created
only one harmonic
tone at 1185Hz.
In fig.4.33, it is
shows that, tun
played on complete Fig. 4.33, The stroke Tun played with

complete shyAhi on a). Tabla, b). Dholak
shyahi and sound and c). By electronic Tabk.
for tun is produced from electronic Tabla machine

Chapter - Four 361
is enable to create clear overtones. In fig.4.33 (a) it

shows six and in fig.4.33 (c) it shows four
overtones. But in Dholak fig.4.33 (b) we get only
one overtone at 717 Hz by 45dB.
DIN OR THUN (f^ m ^5T)

The stroke Din is capable to produce a rigid sound,
came to Tabia from Phakawaj: It is played on chanti
of a Tabia by striking
with ring finger,
middle finger, ring
finger and little finger
simultaneously. The
above fig.4.34 is
indicating six clear
Fig. 4.34, The stroke Din played on
dayan Tabl* with complete shy^hi. harmonic overtones
and the first one is at 335 Hz frequency. It has got
30dB intensities and lasted for 655 milliseconds.
The second harmonics is the strongest one at 606
Hz by 28dB intensities and last for 963 milliseconds.
The other harmonics at on the 887 Hz, 1185 Hz,
1489 Hz, 1787 Hz by 31dB, 20dB, 15dB, and 14dB
respectively.
Chapter - Four 362
The following fig.4.35 contains three different
readings for
Tabla stroke and
on first one
fig.4.35 (a) is
showing five
overtones with
three prominent
Fig. 4.35, The stroke din played on different fundamentals.
TablA like a). Complete shy*hi, b). Incomplete
shyAhi and c). Without shyAhi. The stroke is
taken on a Tabla with complete shyahi. On the

second one fig.4.35 (b) which emanates three
different harmonics are very weak and stroke is
taken on a Tabla with incomplete shyahi. And on
third object showing above fig.4.35 (c) stroke is

taken on a Tabla without shyahi also emanates
harmonics but only two which is very weak at 717
Hz and 1185 Hz.
When we compare the same stroke produces from

other instruments like Pakhawaj, Dholak and
electronic Tabla then we can see that, 3D

Chapter-Four 363
Acoustical Properties and Creativity of Tabla, Part (11)
Fig. 4.36, The stroke Din played on different complete instruments like a).
Tabla, b). PakhAwaj, c). Dholak and d). by electronic Tabla machene.
spectrums for Tabla, Pakhawaj and electronic Tabla

show several prominent harmonics but in Dholak,
where shyahi is set on inner side of its pudi
emanates only one very weak fundamental.
TAK (cfcR)
The stroke Tak is a strong one played on right hand
Tabla. It can be produced by several ways from
different places of Tabla. Sometimes it is played
instead of kat. For instance, players of Ajrada
j
gharana are used to play tak instead of kat when

played Ektaal1. The following figure where
1 There are two types of Ektaal is built by twelve matras; one is divided by six
division and each division contains two-two matras which is mainly used in North
Indian classical music and other one is divided by four divisions and each division
contains three-three matras, is mainly used in Tagore songs. .
Chapter-Four 364
indicating the Tak stroke played by different ways

and different places with different finger or fingers.
Fig. 4.37, Tak played on Dayan Tablft. by a).Index, middle, ring and small
fingers, b). Middle and ring fingers, c). Middle finger, d). From maidan,
and e). Index finger from Chanti.
The first four objects where tak is played with

a).Index, middle, ring and small fingers, b).
Middle and ring fingers c). Middle finger and d).
From maidan, emanate damped sound
immediately. But in fifth object e). where tak is
played on chanti by index finger is able to create
seven harmonics.
Here it is a point to be noted that the process of

producing fifth tak is like a pattern of 'taa' also,
but, it was played on chanti of a pudi. So, there
may be a great relation with the sound produced
from chanti and harmonics.
Chapter - Four 365
In the figure 4.38 where tak is played by striking

simultaneously
■ with Index, middle,
ring and small

fingers but on
different types of
1 Tabla like
complete shyahi,
Fig. 4.38,Tak played on right hand TablA
with a). Complete shy hi b). Incomplete incomplete shyahi
shy&hi, and c). Without shyAhi.
and without
shyahi. Here it is also shown that tak in each and
every spectrum indicating damped sound only.
In fig.4.39 (indicating below) where tak is played on

different musical
instrument like,
Tabla, Pakhawaj
and Dholak by
different players.
The readings of
this figure are
Fig. 4.39, Tak played on a). Tabl* b).
also indicating PakhAwaj, and c). Dholak.
damped sound only. By this above reading it is

Chapter - Four 366
found that tak played from every place on pOdi

except chanti, is created damp sound only.
TE OR Tl (cT -2IT fcr)
The following figure 4.40 where Te or Ti is played
on Tabla
with
complet
e shyahi
by
different
finger or
Fig. 4.40, Ti played on dahina TablA by a). Middle, ring and
small fingers, b). Middle finger, and c). Ring finger. fingers
like a). Middle, ring and small fingers b). Middle
finger and c). Ring
finger by different
| players striking the
blackening patch
and also damping it
thereafter.
Fig. 4.41, a). Ti played on a dayan TablA,a).

With complete shy hi, b). With Incomplete
shyahi and cl. With without shy* hi. Here it is again
founded in figure no. 4.41 that the stroke Ti excites
dampening sound again. Where the stroke played
Chapter - Four 367
on a Tabla a). With complete shyahi, b). With

Incomplete shyahi and c). With without shyahi.
After creating the sound it decays very fast.
On the other hand when ti is played on different

Signal
2QG00
,10800
, 5000
, 3000.
;2000;
1000
530
300 -
200
/iao:‘
56 ;
Fig. 4.42, Ti played a). On a dayan Tabl&, b). On the right side of Pakh^waj e). On
a dholak’s right side and d). by Electronic TablA,
instruments like a). On a dayan Tabla, b). On the

right side of Pakhawaj and c). On a dholak's right
side the result is obtained same damped sound or
no harmonics. And even, when this stroke is
created by Electronic Tabla emanates damped
sound.
RE OR TE (§- -2TT it)

The following figure no 4l43, where Re is played by
different way. The first part of this figure where re
Chapter-Four 368
is played by finger and in second part of this figure

where re is played by striking on the Tabla by the
right hand's palm. But both spectrums are

indicating damped sound deafly.
In figure 4.44 where Re is placed on a dayan Tabla
Fig. 4.44, a).Re played on a dayan Tabla, a). With complete shyahi, b). With
Incomplete shyahi and c). With without shyahi.
with a). Complete shyahi, b). Incomplete shyahi

and c). Without shyahi.
Chapter-Four 369
Acoustical Properties and Creativity of Tabli, Part (II)
And in fig.4.45, where Re is played a). On a dayan
Tabla, b). On
a Pakhawaj, c).
On a dholak's
right side and
d). by Elecronic
Tabla. But each Fig. 4.45, Ra played a). On a dayan TablA, b). On
the right side of PakhAwaj, c). On a dholak’s
and every right side and d). By Elecronic TablA.
stroke is excited dampening sound, showing by
their 3D spectrums clearly.
KA, KE, Kl OR KAT ( cfT, cFT, -^TT cficj;)
In figure no. 4.46, where the stroke Ka played on a
bayan Tabla by
different ways,
in first object ka
is played with
full palm, in
second object it
is played by
Fig. 4.46, Ka played on Bayan with a). Full palm,
b). Nails and c). On the shyAhi nails 1 and in
third object where ka is played by striking on the

Chapter-Four 370
shyahi with left hand's fingers. On the other hand

in figure no. 4.47, the same stroke Ka is played on a
Fig. 4.47, Ka played on a Bayan with a), coinplete shy hi, b). Incomplete
shyahi and c). Without shyahi.
bayan Tabla with complete shyahi, incomplete

shyahi and without shyahi. Arid finally in figure no.
! -
- i ■\ ■ -
4.48, the reading is taken by playing the same ka by
different instruments like a). On a bayan Tabla, b).
Fig. 4.48, Ka played a). On a bayan Tablft, b). On the left side of Pakh«,waj,
ct. On a dholak’s left side, and d). By electronic TabU.
On the left side of a Pakhawajj c). On a dholak's left
I ■ - !
side, and d). by Electronic Tabla. A total of nine

Chapter - Four 371
readings are given here for illustration. In

experiment several other readings also have been
taken but each and every reading shows
dampening spectrum by this stroke.
GE OR GHE ("St "STT "Et)
For the stroke of Ge or Ghe the Tabia played by left

hand or non
dominant hand is
known as base
drum. In figure
4.49, two
different readings
Fig. 4.49, Different readings for the stroke Ga
played on bayan TablA. have been taken
but both are excited damped sound. The stroke
Ghe generates strong vibration but very weak
overtones at about 100 Hz. It is also found in
experiment conducted by Sangeet Research
Academy1.
The following figure no. 4.50, where Ga played on

different instruments like Tabia, Pakhawaj and
1 Acoustica, Vol 75 (1991), Research notes 207.

Chapter-Four 372
Dhoiak. As we kknow on the left pudi of a pakhawaj

where temporary shyahi is used made by wheat
Fig. 4.50, Ga played on a). Bayan TablA b). Pakhawaj, and c). Dhoiak.
glue. The spectrums of Tabia,] Pakhawaj and Dhoiak

are indicating very weak. :
Na (or)
The stroke Na played on dayan Tabia by touching
ring finger softly.
In fig.4.51, 'three
different readings
atel taken for na
stroke on Tabia
With complete,
Fig. 4.51, a).Na played on a dayan TabK with,
a). Complete shyahi, b). Incomplete shyahi, incomplete and
and c). Without shyAhi. !
without shyahi
where every spectrums show damped sound.
Chapter - Four 373
DHA (or), and DHIN (fit).

The following figure where two different strokes
Fig. 4.52, The stroke a). Dha, and b). dhin, played on dayan and bayan
Tablfc simultaneously.
are indicating, first one is for the Dha stroke and
second one for Dhin stroke played on dayan and
bayan by striking simultaneously. Both spectrums
are indicating clearly for their base stroke and
sharp stroke by different harmonics. It is very
difficult to mark overtone's creating point for their
weak harmonics created by base drum but sharp
harmonics created by right hand Tabla is easy to
measure.
By this way it is found that though different strokes

played on Tabla simultaneously but their individual
quality is preserved.
Chapter - Four 374
For quick looking a chart of 3D spectrums for

different Tabla strokes is given below which is
made after playing those strokes on a complete
shyahi Tabla by a specialized Tabla expert.
Alphabets 1st 2nd 3rd 4th 5th 6th

Name Overtone Overtone Overtone Overtone Overtone Overtone
Taa 244 Hz 428 Hz 644 Hz 874 Hz 1098 Hz 1314 Hz
30dB 27dB 35dB 30 dB 40 dB 18 dB
1157ms 1616 ms 544 ms 297 ms 265 ms 117 ms
yth 8th 9th 10th 11th

Overtone Overtone Overtone Overtone Overtone
1511 Hz 1753 Hz 1988 Hz 2268 Hz 2484 Hz
37 dB 27 dB 31 dB 27 dB 31 dB
185 ms 56 ms 174 ms 100 ms 106 ms
Tin 427 Hz 644 Hz 874 Hz | 1098 Hz

25 dB 26 dB 16 dB ! 21 dB
1702 ms 123 ms 202 ms 78 ms
Tun 239 Hz 427 Hz 644 Hz ; 860 Hz 1098Hz

38 dB 9dB 25 dB 21 dB 23 dB
1696 ms 996 ms 481 ms 347 ms 212 ms
Din 239 Hz 427 Hz 644 Hz 860 Hz 1098 Hz

31 dB 20 dB 18 dB 15 dB 21 dB
879 ms 1131 ms 252 ms 151 ms 107 ms
Ti on D A M P E D
shyahi
Ti D A M P E D
Dhiradhira |
l
category
Ra D A M P E D
Chapter - Four 375
Ra D\ A M P E D
Dhiradhira
category
Tak by D A M P E D
Middle
finger
Tak by all D A M P E D
fingers
Tak by D A M - P E D
index
finger
Da 427 Hz
30 dB
716 ms
!
Na D A M P E D
Ka played D A M ; P E D
by nail
Ka played D A M P E D
i
by full
palm
Ka played D . A M P E D
on shyahi
Ga / Gha 177 Hz 292 Hz
12 dB 5 dB
173 ms 358 ms
Dha 239 Hz 427 Hz 644 Hz 874 Hz 1098 Hz 1338 Hz

34 dB 30 dB 38 dB 32 dB 42 dB 29 dB
996 ms 1416 ms 632 ms 447 ms 251 ms 173 ms
1535Hz
42 dB
179 ms
Dhin 296 Hz 427 Hz 644 Hz 879 Hz 1098 Hz
30 dB 30 dB 29 dB 25 dB 34 dB
728 ms 1725 ms 185 ms 202 ms 190ms
Chapter-Four 376
QBSERBATtON:
The sound emanates from Tabia and Bayan is such
melodious, sweet and soothing that it is able to
create eleven overtones also. It is found several

times about eight dr nine or ten overtones from
different readings for different alphabets also. Here
it may be noted that, the overtones which were

looked clearly counted for readings since there
were another overtones were looked but not

cleared. From the above experiment it is also
found that, alphabets which are resonate openly

like taa, tin, etc. is able to c eate harmqnics but,
which are played on shyahi and resonate closely
able to create damped sound only, it is also found
that, Tabia, where shyahi is stored little or

! : : ’ 1 ■
incompletely reduced produ ci n g harmonics and

where alphabets are produced from a Tabia except
Shyahi, lost the quality to produced Overtones
approximately. On joint stroke like 'Dha' or 'Dhin'

,, i : ,
where two different strokes are played on dayan
and bayan simultaneously but their individual
quality is preserved on 3D Spectrum arid can be

I .
read discretely.
Chapter - Four 377
PESHKAR:
The word 'Peshkar' is derived from a Farsi word
'Pesh', which means 'to present', 'to attend' etc.
Peshkar's also have paltas just like quaidas and
there are huge similarities between quaida and
peshkar. Since, there are huge similarities between

quaida and peshkar but peshkar is not so strict like
quaida. A player can expand easily a peshkar
without maintain the rules like quaida and
generally, it is played as an opening composition in

a solo Tabla driimming.
Peshkar which is also known as 'peshkara' is a
pattern of exposing the player him-self how
confident hi is by presenting controlled variations

with different layas. It is a complicated but pretty
composition able to animate listener's mind.
Generally, peshkar is played at a slow pace as it is
very easy to perform different patterns by same
laya.
However, it is only the Delhi and Ajrada gharanas,

\
not the poorab (or eastern) ones, that take pains to
Chapter - Four 378
bring out the full aesthetic potential of a peshkar1.
There are different varieties of peshkar and at the

time of playing a peshkar is to be gone after
immediately by a particular type of quaida named
peshkar-quaida. It is also just like a quaida but the
main difference is as it is made up by the typical
peshkar's bols. According to Dr. Ajay Ashtaputra,
peshkar-quaida is a speaciality of Ajrada gharana
only and by playing this such composition in a solo
recital a player is introduced from this gharana
also2.
A peshkar of Ajrada gharana is illustrated bellow

with its spectrum:
DhTnKraDhinTa -DhaDhmTa DhaTTtDhaTTt DhaDhaDhTnTa
TTtGhiDaNaDha DhTnTaDhaTTt DhaKraDhaTTt DhaDhaTTnTa

z
ThTnKraThTnTa —TaTTnTa TaTTtTaTTt TaTaTTnTa
0
TTtGhTDaNaDha DhTnTaDhaTTt DhaKraDhaTTt DhaDhaDhTnTa
3
And spectrum for this above peshkar —
1 The Art of Tabl Rhythm - Essentials, Tradition and Creativity, by Sudhir Kumar
Saxena, Page - 45.
2 j
Dr. Ajay Ashtaputra on private interview, 2 April, 2007.
Chapter-Four 379
Fig. 4.53, 3D Spectrum for Ajrada Peshkar played on TabI in Teentala.
The word Quaida derived from Arabian word

'Quaid'1, literally means technique or rule or
system. The beginner of Tabla learners starts their
learning by Quaida. It is believed that by practicing
Quaida properly hands of a Tabla player are moved
with right way or systematically.
Quaida is a beautiful composition for Tabla
instrument and its structure comprises two
segments mainly. The first line or segment starts

from sama2 or first beat of tala and ends before
\
- i
r
1 Taal-Parichay, Part - III, by Girishchandra Shrivastava, Page no - 30.

2 The first beat of a tala is called Sama.
Chapter-Four 380
Acoustical Properties and Creativity of Tabia, Part (il)
khali, while the second segment starts from a khali
and ends before sama. And it continues by a re-

i
cyclic way again and again. j
Quaida is named by its prominent bol which takes

place frequently and played
I •
prominently. For
instance, Quaida for tita, Quaida for tirakita, dhira-

l
dhira, etc. The permutations !of Quaida differ from
gharana to gharana. Some ard of the opinion that>

the first segment of a Quaid a must be ended by
tinna, tinakina or dhinagina types of bol while

second segment by dhinna, dinagina types of bol
’ i !
For example, the following quaida which is taught

almost every gharanas at the beginning uttered by
Delhi gharana by the following way,
Dha Dha Tj II I Dha Dha Tin Na

x 2
la -la li la | Dha Dha Dhinl Na
0 3
But in farrukhabad gharana jthe same quaida is

uttered by following way,
Chapter-Four 381
Dha Dha T\ Ja | Dha Dha Tun. M.

x 2
Ja la 1 la Dha Dha Tun Na
0
Quaida is also played in solo Tabla playing

immensely. It has some different nature and
specialty. They are like1:
• Quaida is played Only on Tabla not on other

instruments.
• Quaida is composed only on that Tala which is
used for solo performance and its composition
must show the tala appearance and metre.
• It is divided by two parts first one is Bhari and
• ‘ , ' ' i
second one is Khali. !: !

• Quaida is made by that bols that it is expanded
for paltas.
• After playing a quaida its paltas are played. At
first quaida is played in s irnple speed then it's
double speed and finally if possible its
redouble speed also arid then quaida is to be
followed immediately to play paltas.
1 Taal-Parichay, Part - III, by Girishchandra Shrivastava, Page no - 30, 31.

Chapter - Four 382
Acoustical Properties and Creativity of Tabla, Part (I!)
• It ends always its highest speed or by tihai
made by its own bols.
• Very often palta of a quaida is also played as
rela and row also.
A quaida is famous by delhi gharana and can be
played by different ways also is given below with
>ectrum.
:
DhaTT DhaGe IMaDhai TTRaKTTa

X
DhaTT DhaGe TIN a 1 Kina

2
Tail TaKe NaTa TTRaKTTa
0
DhaTT DhaGe DhTNa I GTNa
3
And spectrum for this above Quaida —

Chapter Four 383
Each and every stroke played on Tabla for
presenting the above quaida are shown differently
with their distinctive harmonics quality.
In short we can say that, when such type of some
bols played by showing division of tala and can be

' I
expanded for different patterns (paltas)i may be
called quaida.
TUKDA
j
The literally meaning of 'Tukda' is a part or a piece
1 ■' " *
of a whole thing. In Tabla repertoire tukda is very

I ‘ ; *
important matter to play. It can be played in both
as an accompaniment matter and also in
j'-
playing. By its special meaning we can say that,

such composition which is not as long as pa ran and
as rigid as paran and also can not be expanded like
quaida or peshkar may be called as tukda.
It is almost composed for one cycle to four cycles.

. M
Tukda may be with tihai dr1 without tihai but
Chapter - Four 384
generally, it is mostly composed with tihai. As we

know paran is a repertoire of pakhawaj which is
very long composition. By splitting the said paran
most of the tukdas are created.
For example a tukda composed in ektala is given

below:
Kat-TTTa TTTaGeGe 1 DTn-NaGe TTtaKaTa

X 0
GaDTGaNa Ta k-DTn 1 NaGeTTTa KaTa-Ne

0
3
Dha-TTta KaTa-Ne 1 Dha-TTta KaTa-Ne
5 6
And spectrum for this above Tukda —
Fig. 4.55,3D Spectrum for above Tukda played on Tabl in Ektala.

Chapter - Four 385
According to Girishchandra Shreevastava, if we say

tukda for such soft composition which is bigger
than mukhda and smaller than paran will not be
inappropriate*1. To maintain the rigidity like paran
tukda is normally composed with the bols those are

played mainly on the chanti ofi a Tabia.
RE LA
It is a natural language whidh laterally means 'a

torrent' or 'a rush'. It is mainly the material of
pakhawaj and has come to Tabia from that
pakhawaj. Structurally, there are no 'difference
between rela and quaida. Butitheir playing manner
is different. Rela is always played at high speed so it!
is also very tough to play for them who ? have no

dexterity to Use of fingers. In this respect Prof.
Saxena gurujee said, it calls for perfect mastery in
the use of fingers, and agility of both hands;
, ; ; ! ' ■ ;
otherwise, the requisite smoothness of the flow of

;! | j
bols may tend ! to look arrested at places, even
. j
before the completion of the pattern. A measure of

^ ! |
1 Taal-Parichay, Part — III, by Girishchandra Shrivastava, Page no - 53.
Chapter - Four 386
improvisation is also possible here1. On the other
hand, quaida is not played as much speed as rela

normally.
In rela playing a bunch of bols which played at high

speed, forms a continuous rush by swiftly
expressed strokes. Rela can be expanded by paltas
like quaida. There are two types of rela in use.
1. Swatantra Rela, and

2. Quaida Rela
Swatantra rela, which is also known as independent
rela and is made up independently. Most of the
rela made for pakhawaj comes to this category. For
example,
DhaTTra KTTaTaka TTRaKTTa DhaTTRa

x
KTTaTaka TTRaKTTa TaTTRa KTTaTaka
2 ____ ____ ____ ____ i ____
TaTTRa KTTaTaka TTRaKTTa TaTTRa

0
KTTaTaka TTRaKTTa DhaTTra KTTaTaka
3
\
Saxena, Page - 48.
Chapter-Four 387
Some relas those are made from selected paltas of

any quaida and can be played high speed also is
called quaida rela. As it is made from a palta of
quaida so, it is named as quaida rela.
For example,
DhaTTra KTTaTaka DhaTTra i KTTaTaka

j . : ;
X
DhaTTra GhTDaNaGa TTnNa KTdaNaGa
z
TaTTRa KTTaTaka TaTTRa KTTaTaka
0
DhaTTra GhTDaNaGa DhTnNa GhTDaNaGa

3
And a spectrunrffofthis above Swqtantfi rela —
Fig. 4.56,3D Spectrum for a swatantra rela illustrated; above in Teentala.

Chapter-Four 388
GAT
The word gat is an abbreviation of gati which

*1
means movement . Gat is a special type of such
beautiful composition made up with soft bols and
different from quaida, tukra,j rela, paran, etc. it is
always made up with pure Tabla bols and almost

without tihai. Some are played gats by utilizing
khali and bhari also.
Gats are played in solo Tabla playing frequently*

There are different types of gats in use, like simple
gat, Chakradhar-gat, Dopalli-gat, Tripalli-gat,
Choupalli-gat, PanchpalIi-gat,;Farmaeshi-gat> Fjarad-
gat, etc. In chakradhar-gat is made up with an
identical bunch of bols repeat for three times. The
meaning of palli is a pattern;which completes one
cycle of the basic composit on with a! different
speed. About palli Gurujee said, "the suffix palli
here means one cycle of the basic composition12/
So, in gats of palli different speeds are uses as
1 The Art of Tabl Rhythm - Essentials, t’raditiohi and Creativity, by Sudhir Rumar
Saxena, Page - 49.
Saxena, Page - 50.
Chapter-Four 389
much as referred. For example, in dopalli-gat two

different speeds, in tripalii-gat three different
speeds is used. !
It is also seen to play very often 'do moonh ki gat'

at the time of solo Tabla drumming. Generally, it
means a different pattern where the composition
starts and ends with the same bol or group of bols.
According to guruji, in all probability, the thought
of composing such gats arose from observation of a
'She-snake' which does not haye
i
a tail at all, but has
■ ■ ■ i , i
two similar mouths at both erjids. As we know, this

type of snake is called 'dumui'1. J
There is one rare and beautiful specialty of gat

named farad-gat. Some are of the belief that a
farad-gat is made of once is not possible to make
another by same pattern. It is very complicated
pattern in both construction and implementation.
For instance,! a farad-gat is given below with
spectrum:
Saxena, Page - 50.
Chapter - Four 390
TTTaGhTPa -NaPha GhTPaNag PhTNakTa
KTTa PIN a GTPaNaGa PhTTaPhaGe TTTaPhaGe

z
PhaPanNa GadPT KatPTNa PhaGeNaPha
0
GeNaPhaGe PTGaNaGa TTRaKTTaTakTa -PhTRaDhTRaKTTa
3
And spectrum for this above farad gat —
Signal
2000.0
ioooo
5000
3000
2000
.1000
• 500
.300
- -200
i6o
50 '
Fig. 4.57, The spectrum for above Farad Gat, composed in Teentala.
MUKHRA/ MOHRA
Mukhda and Mohra both are very beautiful
compositions and about equal in range. The word
'mukhda' came from the word 'mukh' (mouth).
According to Girishchandra Shreevastava, mukhda
is bigger than mohra and made from rigid bols, can
be said a little tukda also1. \
1 Taal-Parichay, Part - II, by Girishchandra Shrivastava, Page no - 41.

Chapter-Four 391
Generally, mukhda ends with :a tihai while mohra is

\
commonly played before starting the actual theka.

Both can be rised up from any matra of a theka but
end at sama or first beat of Tala. Though both are
used in solo Tabia recital but their actual use is in
accompaniment mainly. For example a mukhda and
a mohra is given below:
Mukhda — In teentala the following mukhda have to

play from khali or 9 matra:
Natl NaKTda NakTak TTRaKITa
0
Dha- DhaTT Dha- DhaTT
Mohra — In teentala the following mukhda have to

it. *
play from 13 i matra:

Natl Naklda NakTak TTRaKITa
PARAN
.! f
The word 'Paran' is mainly related to pakhawaj
instrument. But it is also played on Tabia
frequently. It may also say tha t, a large size of such
Chapter-Four 392
special composition which is like tukda played
mainly on pakhawaj by openly and rigidly is called
paran. Paran has a number of variations, like — Gaj-
paran, Ekhasthi-paran, Kamali-paran, Farmaishi-
paran, etc.
For example a paran is given below which

composed in Chartala:
; ■
DhaDha GaDTGaNa 1 DhaDhTn TTTaKaTa

X 0
GaDTGaNa DhaNa 1 DhTnTa DhaDTn
3 0
TaDha TaTTTa 1 KaTaGaDT GaNaDha
5 6
DhTnTa DhTnTa I DhaGaDT GaNa hia
X 0
KaTaGaDT GaNaDha 1 DhaTiTa KaTaGaDT
3 0
GaNaDha DhaTTTa 1 KaTaGaDT GaNaDha
5 6
LAGGI / LADI
Laggi and Ladi are the smallest compositions in the
realm of Tabia repertoire. By how players are used
peshkar, quaida, rela, gat, etc. in teentala, ektala or
other talas by the same way laggi and ladi are used
Chapter-Four 393
in agile nature of talas like 'kaherva', 'dadra' etc. It

is also very tough to play for them who have no
j
dexterity and agility to use of fingers. Except

j . ■
playing manner, structurally, there are a few

differences between laggi and quaida. It can be also
expanded like quaida but need not to maintain the
iI ■
' ' •
rules strictly alike quaida, as these are used mainly

\ |
in accompanying with the lighter forms of music,
like, 'thumfis', 'gazals' 'bhajans', etc.
j !-.
By how quaida rela is made by a part of a quaida or

j
any selected palta of a quaida by the same way ladi
i . f
is made from a part of laggi or a bant of a laggi is

played in high speed. According to Girishchandra
Shreevastava, the word ladi came from Hindi
language lad' which literally means a chain made
by pearls or flowers1. Quality wise they have no
place in solo playing but now a days these are

frequently used at the time of solo playing.
: i i
: ;* . . i .
in this respect Prof. Saxena gurujee said, laggi has
been devised on the analogy of a long bamboo
Taal-Parichay, Part - III, by Girishchandra Shreevastava, Page - 8.7.

Chapter - Four 394
which is thick at the root and thin at the end. its

playing indeed begins with a big bang, and
gradually tapers in resonance as it moves towards
its end . For example a laggi and a ladi are given
below composed in Keherva tala:
Laggi:
Dha Tin Na Da | Ta Tin Na Da
x 0
Ladi:
Dha Tin Dha Tin | Na Na Tin Na
x 0
And spectrum for this above laggi, ladi:
Saxena, Page-53.
Chapter-Four 395
TALA
The word tala Is made from i the root form of "tal"
t
which means "something established". There are
ten pillars in Tala and time is one of them. Once a
time, to measure time in music Ghana instrument
. 'i
t
were used and it was said (that "Talon Ghana Iti
Procktom"^, but in modern pbriod specialism North
i .
Indian music, Tabla has created a such position
where no one can think any music without Tabla. It
may consider to accompany any singing or
I
instrumental music excbpt Tanpufa and
Harmonium I but Tabla. For its highly demanding
score the permutation of "Talon Ghana Iti
Procktom" is changed and dan be said also that
"Tabla Talonti Procktom".
Every tala has been allocated with a basic set of

1 I *
bols which is called theka fro|m which every tala is

- , | ■ ;
recognized. The theka is the sole to every tala and
grfrnawrrygscferrrrenTjrorrststyqy-Tft iisii
Sangeet-Makrand, by Narad Muni, Nrittyadhdaya, verse no - 51.
2 rTTcert ettst grfrT 'CThs;', Natya Sastra, by Bharat, 3ist Chapter, Talavidhanadhyay.
Chapter-Four 396
the concept of theka is unique to North Indian
music which does not exist in the western music
and even in southern or Carnatic music also. After
starting a theka it continues in a circular pattern,
and stops only when the particular piece comes to
an end.
For example, the most common sixteen beats theka
of teentala of North Indian system is given below:-
Dha
DhT
3 Ta Dha 2
Ta DhTn
TTn DhS
Dha
0
The above teentala is starts from first matra (beat)
which is indicated at the top by 'x' symbol and also
by '1' number and completes its one cycle on

Chapter-Four 397
sixteenth matra (indicated by 16 numbers). Each

and every theka of any tala is rotted by this same
way.
And spectrum for this above theka:
Fig. 4.59, 3D spectrum for Teentaia; played on Tabl
VRRA/
From the above 3D spectrurris Showed for analysis

of different compositions like — Peshkar,i Peshkar
kaida, Kaida, Tukrda, Rela, (aat, Mukhra, Paran,
!■; j ■
Laggi, Ladi, Tala, Theka, etc. it is found that, strokes

are made so
;j
quickly
..
to play. the above compositions
i i 1 , . ■ ■.
that, even their individual joverton^s create

distantly but amalgamate with each other so
roughly is tough to make readings from them.
Chapter-Four 398
CREATtVI
The periodic movement or rhythmic flow is present
in painting, sculpture and music and even the
expression of feelings. Some scholars have placed

the three art forms on an equal ground while the
majority of them insist adamant that music has it
all and even more to it. All art forms give force,
inspiration, inner peace and; encouragement. But

music has an added feature that it affects not only
the human beings, but also the whole environment
including animals and birds. It is well known that
music becomes more effective when accompanied
by rhythm and rhythmic bits are provided by Tabla.

Tabla, thus, has become an indispensable
instrument accompaniment of traditional classical
Indian music.
Percussion instruments have been using to serve up
several purposes from the very ancient time. As we

already know, instruments like Dundubhi, Nagada were
used for public announcement and for royal march
past from a long time in all countries. These

Chapter-Four 399
instruments were also used as an aid to
communication or to drive away wild animals, and

were played by striking with the tales of the animals,
1
have found available references!in so many texts.
In this respect A.
.
k. Sen writes, 'iFrom
I’
ancient times the
use ofpercussion instruments! has notbeen for the
i i ‘
purposes of music alone. In allcountries the use of

these instruments, for public announcement! and for
royal processions is worthy off mention. In various

Adivasi (tribal) regions of India the percussion
instruments (hide covered) ones are played to suggest

i ' ’
or to forebade various events. There was a code
language of these forebodings by which the king's or
Chiefs messages were conveyed to the people, who
were far away. The people who were far away acted on
these symbols. At various times of the morriing and
evening, the drums were played. This was called
'Naubata' and this enabled the people to understand

the time. An angular shaped hide covered percussion
instrument called Bheri was given in some villages to
the watchman and it was played by them, when there

Chapter-Four 400
Acoustical Properties and Creativity of Tabli, Part (II)
was danger and the people were alerted1.
From the very ancient time there was a tradition to

accompany music by the rhythmic instrument. At
the early period rhythm was maintained and music
was accompanied by Ghana vadya mainly. We get
several references from the; early treatise Natya
Shastra, written by Bharat muni2.
Percussion instruments are a so one of; the oldest

rnusical instruments developed by mankind;
Instruments used to accompany the all types; of music
like- Gayan, Vadan, and Nritya jare mentioned in every
periods of musical text. The solo performance of ari
instrument was called 'nirgit vadan' which is also known
as 'shGska vadan' or 'gosthi'3. Tlie ancient shGska vadan
.1
which is as known as today's 'so o' performance or 'ekal
vadan'. According to 'Mansojllas' written; by Raja i » ,
Someswara the first and promineriit work of an

instrument is solo performance, secondly to accompany
1 Indian Concept of Rhythm, by A. K. Sen, Page no - 40,41.

2 rTrast CTSPT gsfrT •grtes', Natya Sastra, 31st Chapter Talavidhanadhyay.
-Sangeetratnakara by Sarangdeva, Chapter - 6, Vadyadhya.

Chapter,
Acoustical Properties and Creativity of Tablfl®
fff**
with music; thirdly, to accompany with d;
Uh <*»-
I "'M
im#3l\.t
fourthly, to accompany with dance and singing^jlyjht^
way the four kind of work was done by an instrument to
pleasure a king. In this respect Raja Someswara has
written,
trTer^cTTEt Sl^TTTTWTTT [
^TrTT^X^f FJFftef HT 3ffc=T 5=p=?;T3TT=T I I
12cf HTrjf&f fiT ETTEf fcTSTtcTTSf JqT^tafrT: I
TT^f: TlTTT^ft^T: -SjtJT HTTP^X^3^^^ 1
In any art there are definite fundamental
materials with which the artist works. Rhythm,
melody, harmony and tone colour are the
elementary thing of Tabla. Tabla preserved all
above qualities in it.
The periodic movement or rhythmic flow is present
in Painting, Sculpture and Music and even in the
expression of feelings. Some scholars have placed
the three art forms on an equal ground while the
majority of them insist adamant that music has it
all and even more to it. All art forms added feature
1 Mansollas, written by Raja Someswara.

Chapter-Four 402
that it affects not only the human beings, but also
the whole environment including animals and
birds. It is well known that music becomes more
effective when accompanied by rhythm and
rhythmic bits are provided by Tabla. Tabla, thus,
become an indispensable instrument
accompaniment of traditional classical Indian
music.
Tabla is a very popular instrument and its versatility
is such that it accompanies vocalists, dancers and

instrumentalists plus Tabla i$ an instrument which
stands out by itself as it can also be performed as a
solo instrument.
The various drum instruments also used to
accompany music. Vocal, Instrumental and Dance

are the three part of music. Charming people are
enamored by the feeling of vocal and dance music.

But with a proper accompaniment of that vocal or
dance music can be reached more appealing.
Bharat Muni also realized this fact and has advised
to play instrument to illustrate Navrasa (Nine Rasa),

Chapter-Four 403
Bharat has said1:
'cTTET SCTfcaREf rTSITf^Spl' TTrsf I

CS
EftTTS^FT^r^Ttnt f§TFT?FTPTT3'TtJT cTTST ^tTTFT | ly.3

S5WRTh3eft^ STTSf rrta^fSTTf^t^TQoâT^TTarftTT |
SfHTrTm^TT5=T^5:rt^FTsleT fS=ToEf affrS^SFCrr I ly.3 l I
The meaning is,

i .
The Vadyas should be played in the Addita Marga
i
when Srngara and Hasya Rasas are depicted. Â/hen
Vira, Ravdra and Adbhuta are depicted they should

l
be played in the Vitasta Marga. The Pathetic
(Karuna) sentiment is depicted with the playing of
■ ' . ■' j :
the instruments in the Aljpta Marga and the
Bibhatsa and Bhayanaka Rasas are depicted by
playing them in the Gomukha Marga. Instruments

should be played after careful observation of the
dance be fitting the Rasas, Bhavas, the Sattva pf the
characters their gestures, mo<de of walking arid the
location of the scene /
There are a number of instru ments which are used

for accompaniment with m jsic like , Pakhawaj,
1 Natya Shastra, by Bharat Muni, Chapter - 33, \ferse no. - 52,53.
' The Natya Shastra of Bharat Muni, Translated By A Board of Scholars, Page - 490
Chapter-Four 404
Mridangam, Dumroo, daff, dhol, Dholak Tasha,

Khanjari, Matka, Nagada / Nakkara, Kathtal /
Khadtal, Ghant, Manjira, Chimta, Mukhchang /

j
Morchang, etc. but none can be equal to Tabla.
Tabla has a unique place among all
accompaniment-instruments by its affecting sweet

sound qualities, which is not possible to express or
cannot be uttered only by wo rds.
The popularity of Tabla has risen due to the fact
that, it embellished its original bols and
expanded them to great length. In addition to
this, Tabla is played with fi ngers and Hence the

dexterity of the latter mal< es playing in higher
•j , I . I ,
speeds with panache and beauty. Tajbla is so
convenient to play as distinguished from other
accompaniment instrumeint, that, as an

accompaniment-instrument,, it can be bsed with
almost every , type of music-forms. jWhereas
other accompaniment instruments totally fail to
fulfill these demands. For Example, it is agreed

\ i
upon today that, Tabla can very well accompany

the instruments like 'Sitar', 'Sarod', 'Violin') etc.
Chapter-Four 405
where as other percussion instruments like

Pakhawaj or Mridangam are not suitable to
accompany the above instruments because of
' |
their rigidity and seriousness. Now-a-days the

players have started using Tabla with Drupad
i
and Dhamar also.
We find that ancient forms of singing like, Jati

gayan, Prabandha gayan, Drupad and Dhamar
were using Pakhawaj for an accompaniment
i
i
instrument (though it is considered rigid and

serious). But in mere rece nt time many more
styles of singing, like Khya Is', Thumri', Dadra',
Tarana', 'Tappa', 'Ghazals', Bhajans (even light
—classical music and sem i-classical music as
staunch purists would call t) have evolved and
Tabla is found to be a friendlier instrument to
accompany even these styles
Tabla can express the will and the passions of

human beings, feelings ancil emotions being its
j
burden in a variety and precision not possible

to words. At the time of accompaniment Tabla
Chapter-Four 406
is mainly used to maintain the time cycle in

music, and thus thought to be the first cycle in
order of succession. These rhythmical effects in
music strongly appeal to the mind.
Tabla can also accompany with an ease purely

instrumental music such as music played on
sarod, sitar, sarangi violin, veena and even
experimental instruments like saxophone,
piano, guitar, brass etc. In addition to the
accompaniment of vocal music, Tabla manages
to create a magical blend with dances, the
effects of which are simply divine. And the
dancers play a divine dance with this divine
effect.
POPULARITY OF TAfiLA
Tabla has got an exceptional place among all
percussion instruments by its touching sweet sound
qualities, which cannot be uttered only by words. It
is possible by the number of reasons. Some reasons
are being mentioned below:
Chapter-Four 407
As we know, Tabla is mainly an accompaniment
instrument like other percussion instruments.
There are a number of instruments which are used
for accompaniment with music like ■, Pakhawaj,

Mridangam, Dumroo, daff,1 dhol, Dholak Tasha,
Khanjari, Matka, Nagada/Nakkara, Kathtal/Khadtal,

Ghant, Manjira, Chimta, Mukhchang/ Morchang,
etc. but none can be equal to Tabla for

accompanying present days music. ,;
Tabla is such exceedingly flexible instrument that it
accompanies vocal music, instrumental music as
well as darice music and Tabla is | ari instrument

which stands out by itself as it can also be
performed as a solo instrument.itdlpla is as popular
for accompaniment instrument iajs solo instrument
■; j . j ’ •!: , ; • • ;■
also.
■ *: , - ; < . i : ;■ 1 ,i
In medieval period singing! Stales! like Dhrupad,
Dharnar, Prâbandha Gayanj etc! were in more
prevalent, where pakhawaj or mridang Was more

table to accompany that.! But, day by day the
ivalence; of those singing styles is beine reduced.

' Chapter-Four 408
And, with the change of people's choice, new styles
like, Khyal, Thumri^Dadra', Tarana', 'Tappa',
'Ghazals', Bhajans, etc are emerged and placed
instead of Dhrupad, Dhamar styles, where Tabla
gets itself, more suitable to accompany with these
new styles.
Tabla is made in such a way that, it has two parts

which are in standing pose and its heights is in
measure that it more suitable to play then other
instruments.
As Tabla is set by standing pose with its suitable
heights, then it makes very simple to play different
types of laykariyas and other presentations on it.
Tabla is an instrument where both parts can be
played by fingers. As, it is a fingers played
instrument. That is why a player can play Tabla with
ease even in high speed. This is unavailable in

Pakhawaj or Mridang.
Tabla can be played by open style (Khula baz,

like pakhawaj style) as well as close style (Band-
Chapter - Four 409
Baz style, where low resonance is produced)
also, which makes a sweet environment on its
playing.
It is very hard on pakhawaj to produce some sound
like Gamak. The permanent black-patch is set on its
right hand side, so, there is no problem to play this
instrument with fingers or a palm. But, in its left
hand side, where temporary wheat-patch (patch
made by wheat glue) is set, so it gets hard to
produce gamak from there. On the other hand, the
permanent black-patch is set on both parts dayan
and bayan Tabla centrally and eccentrically
respectively so, ail types of bols and gamak on
bayan can be made here with ease.
At the present time, large quantities of Tabla texts
are available here which makes a Tabla player more
comfortable to learn it than other instruments.
These days it is very easy to get a Tabla player
every where, and for this reason, a learner of Tabla
instrument can easily get a teacher to learn it
where in other instruments it is very difficult to get

Chapter - Four 410
a teacher.
It is very easy to make a Tabia in different Swaras

(tuning pitch) with the demand of opposite player
at the time of accompaniment. Also, as it is a small

piece of instrument, a player can easily store two or
three pieces of Tabia made by different swaras,
which makes a player more comfortable at the time
of accompaniment than other instruments.
By the availability of different pitches of Tabia, a

new trend has been started these days named
'Tabla-tarang', where Tabia is played as like as 'Jal-
tarang'. So, there may not be long distance where
Tabia will be played as a main instrument with
different ragas.

10 - Chapter 4 PDF

Uploaded by

Copyright:

Available Formats

10 - Chapter 4 PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

10 - Chapter 4 PDF

Uploaded by

Copyright:

Available Formats

What are some of the playing properties of tabla discussed in the document?

What are some of the playing properties of tabla discussed in the document?

What are the alphabets or syllables of tabla called?

What are the alphabets or syllables of tabla called?

Chapter — Four

Tab!!, Part (II)

The evolution of arts has been on per with the

evolution of mankind and civilization. Out of the

have been considered primordial. And music is

which cannot be conveyeid by; paintings or

sculptures are beautifully rendered by musical

PLAYING PROPERTIES O F TABLA

acquired its present form in a day. After a long

period with several corrections by different

corrector Tabla has got todays esteem position.

property of playing matters. For instance, we can

count its own language - the alphabets of Tabla,

kaida, Kaida, Tukrda, Rela, Gat, Mukhra, Paran,

Laggi, Ladi, Tala, Theka, etc. We can also count its

middle speed, first speed! etc. and different

To know the Tabla's playing properties properly ! '

some properties are being discussed below:

Jaidev Singh music is as old as emotion . To express

sounds and when this sounds Attached with; rhythm

express ourselves with the sound of Tabla then it

creates such sound or sounds. That is the alphabets

i Bhartiya Sangiter itihas', by Thakur Jaidev Singh, Page -4,

In all Indian language the alphabets are called

place of 'Varna' is syllable' or 'mnemonics'. The

when struck to different areas of the slang of a

or 'Pathvarna'. Those are also known as

The sounds as pronounced by humans cannot be

the sounds emitted by the percussion be spoken by

We find references from different scores which

throw ample light on the existence of percussion

instruments even in the era jbefore Christ. But no

evidence or reference is available regarding the

modes of playing or Pathaksxjvara or their naming.

'Natyashastra' is known to be the first treatise on

dramaturgy. Though it is a treatise on dramaturgy,

yet it gives ample detail on music. We find analysis

devoted to music, musical instruments and

has given a Huge explanation of alphabets for

percussion instrument by which the same

instruments were played for presenting the drama

find references of usage of such percussion

instruments at some places. Even in mythological

In modern times Tabla has occupied a very

A drum being the most aricient form of musical

dundubhi was perhaps the most ancient form of

drums in India. But some are of the opinion that,

the science of language was also born from this

Damru, a two-headed small drum which is made

also believed that this instrument is the one which

maintains rhythm in the whole of eternity. Further,

By this way all the language s tarts from this damru.

Nandikeshwara Kartika has written about the

above aspect and referred, 'at the end of this

1 'MRIDANGAM - An Indian Classical Percussion Drum, by Shreejayanthi Gopal,