BSEH Secondary Music Tabla key terms

A pair of hand drums used in Hindustani music: the smaller, higher-pitched dayan (or tabla) played with the right hand, and the larger, lower-pitched bayan played with the left.

The larger, lower-pitched left-hand drum of the tabla pair, usually made of copper or brass, known for its deep, resonant sound and pitch-bending capabilities.

The smaller, higher-pitched right-hand drum of the tabla pair, typically made of wood, used for clear, articulate strokes and melodic tuning.

The playing head of a tabla or bayan, made of goat skin with a central black spot called the syahi, which affects the drum's tone and pitch.

The black circular patch applied to the center of the tabla and bayan head, made from a mixture of iron oxide, rice, and other materials, crucial for producing resonant overtones.

The wooden tuning blocks (also called gatta or ghodi) wedged between the drum's rim and its lacing, used to adjust the tension and pitch of the tabla head.

The braided leather or rope lacing that runs around the tabla drum, connecting the top and bottom rims and used to tension the drum head.

Musical pitch or note in Indian music; the seven basic swaras are Sa, Re, Ga, Ma, Pa, Dha, Ni, forming the foundation of melody.

Tempo or speed in music, the rate at which beats occur; commonly categorized as vilambit (slow), madhya (medium), and drut (fast).

A rhythmic cycle in Hindustani music, consisting of a fixed number of beats (matras) organized into sections (vibhags), with specific clap (tali) and wave (khali) patterns.

The basic, repeating rhythmic pattern of a taal, played on the tabla to accompany vocal or instrumental music, serving as the rhythmic foundation.

A single beat or unit of time in a taal; the number of matras determines the length of the rhythmic cycle.

A section or division within a taal, marked by a tali (clap) or khali (wave), which helps in identifying the structure of the cycle.

A clap or stressed beat in a taal, indicating a vibhag; tali beats are often emphasized in theka and compositions.

A wave or unstressed beat in a taal, marking a vibhag with a lighter, unaccented character; also called khal.

The first beat of a taal cycle, considered the most important point of resolution and rhythmic emphasis.

A spoken syllable or mnemonic representing a drum stroke, such as dha, dhin, ta, tin, used in recitation and composition.

A structured tabla composition based on a specific bol pattern, developed through variations (paltas) and typically concluding with a tihai.

A variation or permutation of a kayda's basic bol pattern, used to expand and develop the composition while maintaining its rhythmic identity.

A short, fixed tabla composition, often ending with a tihai, known for its catchy and rhythmic character.

A rhythmic phrase repeated three times, usually to conclude a composition, often landing on the sam after the third repetition.

A composition where a phrase is repeated three times, each repetition being a full cycle of the taal, creating a complex rhythmic structure.

A written system for representing tabla bols and rhythmic patterns, often using symbols for beats, divisions, and strokes.

A repetitive melodic phrase played on a melodic instrument, providing a cyclical reference for a tabla solo performance.

A tabla performance where the player presents compositions like kayda, palta, and tukda, often accompanied by a lehra, showcasing technical and creative skills.

The art of accompanying vocal or instrumental music on the tabla, providing rhythmic support and enhancing the performance.

A school or tradition of tabla playing, each with distinct stylistic features, repertoire, and techniques, such as Delhi, Ajrada, Lucknow, Farukhabad, and Punjab.

One of the oldest tabla gharanas, known for its refined and balanced playing style, emphasizing clarity of bols and intricate kayda compositions.

A tabla gharana famous for its powerful and rhythmic style, characterized by complex paltas and emphasis on the bayan.

A tabla gharana known for its graceful and decorative style, with an emphasis on tukda and expressive bol patterns.

A tabla gharana recognized for its lively and resonant style, featuring compositions with prominent use of the bayan and intricate tihais.

A tabla gharana characterized by its robust and open-handed playing, with a focus on rhythmic vitality and powerful strokes.

A title of respect for a master musician or teacher in Indian classical music, often denoting high skill and lineage.

The tempo or speed of a musical performance, which can be vilambit (slow), madhya (medium), or drut (fast), essential for coordination in accompaniment and solo.

A beat or count in a rhythmic cycle, forming the basic unit of measurement in taal.

A division or section of a taal, marked by tali or khali, helping musicians navigate the cycle.

A clap marking a stressed beat in a taal, indicating the start of a vibhag.

A wave marking an unstressed beat in a taal, contrasting with tali.

The first and most important beat of a taal cycle, serving as the point of resolution.

A spoken syllable representing a drum stroke, used in recitation and composition.