Terminology of Tabla
Tabla- This is a North Indian Percussion Instrument consisting of two parts, Left Drum/Bayan and Right Drum/Tabla. This instrument is used in Indian Classical Music to show the rhythm or Laya. Instead of using as an accompanying instrument, it is also used as a solo instrument. This instrument falls in the Avnadh Vadya/Percussion Instrument group of instruments. It is the most popular instrument of the present time.
Sangeet- In ancient records it is that Gayan/vocal, vadan/percussion, nritya/dance is called Music. When we execute a performance by applying specific musical notes and tempo it will be considered as Music/Sangeet.
Taal- The unit which measures time in music is called Taal/rhythm. It can be of a variety of beats and divisions which suit different styles of singing. In ancient records, it is said that ‘Ta’ is taken from the dance of Lord Shiva “Tandava” and the letter ‘l’ is taken from the dance of Goddess Parvati’s Dance “Lasya”
Matra- The Unit which measures Taal is Called Matra. For Example, Dadra Taal has 6 Beats by which we can identify the taal length. It is similar as we use the meter, gaj, kilometer, liter, etc.. to measure different quantities.
| Dha | Dhin | Dhin | Dha |
| 1 | 2 | 3 | 4 |
| First Beat | Second Beat | Third Beat | Forth Beat |
Sum- Taal’s first beat is recognized as Sum. It is an important place in music because by this a performer can complete its composition.
| Dha | Dhin | Na | Dha | Tin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 | ||||
| Sum | Khali |
Theka – The main composition by which we can identify a time cycle is called Theka. Even taals of the same number of beats can be differentiated by their divisions, rhythmic pattern, and feel.
| Dha | Dhin | Na | Dha | Tin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 |
Taali or Bhari- While reciting the taal by hand when we show a specific place with a clap is called Taali/Bhari.
| Dhin | Na | Dhin | Dhin | Na | Tin | Na | Dhin | Dhin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| X | 2 | 0 | 3 | ||||||
| Taali | Taali | Khali | Taali |
Khali- While reciting the taal by hands when we show a specific place by waving our hand in the air is called Khali.
| Dhin | Na | Dhin | Dhin | Na | Tin | Na | Dhin | Dhin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| X | 2 | 0 | 3 | ||||||
| Taali | Taali | Khali | Taali |
Vibhag/Division- The sections used to show divisions of a taal is called Vibhag. It can be of a different number of beats. For example, Teen Taal has 4 Divisions of 4 beats each, Dadra has 2 divisions of 3 beats each, etc. For Example, let us consider Dadra Taal which has two divisions of 3 Beats each.
| Dha | Dhin | Na | Dha | Tin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 |
Aavrti/Avartan/Cycle- When we play or count a Taal from first to last beat one time is called it’s One avartan.
Single Avartan
| Dha | Dhin | Na | Dha | Tin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 | ||||
| Sum | Khali |
Two Avartans
| Dha | Dhin | Na | Dha | Tin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 | ||||
| Sum | Khali | ||||
| Dha | Dhin | Na | Dha | Tin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 | ||||
| Sum | Khali |
Laya- Every object has its own rhythm in this universe. According to scholars, the constant speed of time in music is called Laya. There can be many ways to describe Laya, but the scholars have divided the Laya/Tempo into three main divisions - Vilambit Laya, Madhya Laya, and Drut Laya.
Ekgun- When we play One bol in a Matra/Beat is called Ekgun. It is also known as ‘’Barabar ki Laya’’.
| Dha | Dhin | Na | Dha | Tin | Na |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 |
Dugun- When we play Two bols in a Matra/Beat is called Dugun.
| DhaDhin | NaDha | Tina | DhaDhin | NaDha | Tina |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 |
Tigun- When we play Three bol in a Matra/Beat is called Tigun.
| DhaDhinNa | DhaTinNa | DhaDhinNa | DhaTinNa | DhaDhinNa | DhaTinNa |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 |
Chaugun- When we play Four bol in a Matra/Beat is called Chaugun.
| DhaDhinNaDha | TinNaDhaDhin | NaDhaTinNa | DhaDhinNaDha | TinNaDhaDhin | NaDhaTinNa |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 |
Prakar or Kism- When we play a taal’s theka in a different style with some changes in its root composition is called prakar or kism. We make changes in the root composition of the taal but the nature and spirit persist the same as the main theme.
| Dha | Ti(n) | Ti(n) | Nanakena | Dhin | Nati |
| 1 | 2 | 3 | 4 | 5 | 6 |
| X | 0 |
Bol- The meaningful groups of bols of Tabla are called Bols. Tit, Titkit, Ghada’n, Dinn, Etc..
Kayda- It is a group of meaningful bols that can be improvised by maintaining the basic form, divisions, and structure of the Composition. It is a systematic composition, according to the scriptures, while improvising a kayda it is necessary to use the maintain jati of the main theme kayda in paltas. The improvisation should be in the same jati, but in the present times, performers use different jatis while improvising the kayda to show a glimpse of the excitement. For improvisation, we can only use the same bols used in Kayda. We can end a kayda with a tihai or a chakardar tihai. Tinakina, Dhinagina, Tinkin, Dhingin are used at the end of the Kaydas by which we can identify the composition type.
Palta- When we improvise a composition like kayda, rela, peshkar, etc.. then the new improvised patterns of the main theme are called paltas. We can only use the Bols of the main theme to improvise.
Rela- A composition that can be improvised and can be played in athhgun laya or very high tempo, can be mentioned as Rela. It looks like a kayda but it is meant to be played in a very high/fast tempo. At the end of the composition kittak, ghidnag, kidnak bolas can be used.
Tihai- When we play a group of meaningful phrases adjoined with a ‘Dha’ three times and it falls on Sum, Then this composition is called Tihai. It is used with Kada, Reka, Laggi, Etc..
Example of Tihai in Keherwa Taal:
| First Cycle of Tihai | Second Cycle of Tihai | Third Cycle of Tihai | ||||||
| DhaDha | Tit | DhaS | DhaDha | Tit | DhaS | DhaDha | Tit | Dha |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 1 |
| X | 0 | X | ||||||
| Sum | Khali | Sum | ||||||
Chakardar- It literally means circular or rotating. In chakardar if we play a Tukda having a tihai three times and it falls on sum it is called Chakardar. Its size is larger than tihai. It can be of 2 cycles to 5 cycles.
Farmaishi Chakardar- This is also the same structure as Chakardar, but it has some special character sticks. At the time of the first cycle of this chakardar, the first 'Dha' of the tihai falls on sum, then in the second cycle the second ‘Dha’ of the tihai falls on sum, and in third cycle of the chakardar the last ‘dha’ falls on sum. Kamali Chakardar- This has a similar structure as of Farmaishi Chakardar, but it has some special character sticks as it uses three Dha in each part of its tihai- Titkata Gadigena Dha Dha Dha, Titkata Gadigena Dha Dha Dha, Titkata Gadigena Dha Dha Dha. At the time of the first cycle of the chakardar, the first 'Dha' of the first part of the tihai falls on sum, then in the second cycle the second ‘Dha’ of the second part of the tihai falls on sum, and in the third cycle of the chakardar the last ‘dha’ falls on sum.
Gat- This is a composition consisting of soft phrases that can not be improvised. In some cases the principle of khali-bhari is used, it can not improvise but its duplicates can be made called Joda. Gat can use Tihai or can be of without Tihai. Both the Kinar and Syahi are used in this composition. Do-moohi, Charbagh, Dupalli, Tipali, Chaupalli, etc. are also gat varities.
Paran- It is adopted from Pakhawaj. We can use strong and energetic phrases to compose a paran. These syllables are of tabla, but their expressions are very energetic and masculine like pakhawaj. It’s size can be of 2 to 3 cycles and adjoined with Tihai.
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