PSEB Matric Music Tabla cheat sheet

Tabla: the pair of drums; the right-hand drum is the tabla (dayan), the left-hand drum is the dagga (bayan).

Bols (also called bols or syllables) are mnemonic sounds that represent specific strokes: Dha, Dhin, Ta, Tin, Na, Ge, Ke, etc.

Sangeet: music; the tabla is a percussion instrument used in Hindustani classical music.

Laya: tempo; the speed of the rhythmic cycle.

Matra: a beat or count within a tala.

Vibhag: a division or bar within a tala, marked by a clap (tali) or wave (khali).

Sam: the first beat of a tala, the point of resolution and confluence.

Tali: a clap marking a stressed vibhag; Khali: a wave marking an unstressed vibhag.

Theka: the basic bol pattern that defines a tala.

Bol: a spoken syllable or stroke; also refers to the recitation of rhythmic patterns.

Tala: a rhythmic cycle of a fixed number of beats (matras).

Common talas: Teental (16 beats, 4 vibhags), Jhaptal (10 beats, 4 vibhags: 2+3+2+3), Rupak (7 beats, 3 vibhags: 3+2+2 with khali on first), Ektaal (12 beats, 6 vibhags of 2), Chautal (12 beats, 6 vibhags of 2), Dadra (6 beats, 3+3), Keherwa (8 beats, 4+4), Bhajani (8 beats), Deepchandi (14 beats, 3+4+3+4), Jhoomra (14 beats, 3+4+3+4), Adachautal (14 beats, 2+4+4+4).

Laya types: Vilambit (slow), Madhya (medium), Drut (fast).

Laya is measured in beats per minute (BPM); typical vilambit ~40-60 BPM, madhya ~80-120 BPM, drut ~160-240 BPM.

Sam is beat 1; the cycle repeats after the last matra.

Khali is marked by a wave of the hand and often has a different bol (e.g., in Teental, khali is on beat 9).

Tali positions in Teental: beats 1, 5, 9 (khali), 13.

Laya ratio: Barabar (equal), Dugun (double speed), Tigun (triple speed), Chaugun (quadruple speed).

In notation, sam is marked with 'X', tali with numbers (2, 3, etc.), khali with '0'.

Bols are written in Devanagari or Roman script; each bol corresponds to a stroke or combination.

Dha = Dha (combined stroke of Na on dayan and Ge on bayan); Dhin = Dhin (combined Tin and Ge).

Na/Ta/Tin: strokes on the dayan (right drum) played with the index finger or combined fingers.

Ge/Ghe: bass stroke on the bayan (left drum) played with the palm/wrist.

Ke/Ka: stroke on the bayan played with the flat hand, producing a dry sound.

TiRaKiTa: a four-syllable bol pattern often played as a fast phrase.

Dha Dhin Na Tin: a common theka pattern for Teental? Actually Teental theka: Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha.

Notation uses symbols: X for sam, 0 for khali, and numbers for tali.

Bols are grouped into phrases (e.g., Dha Dhin Dhin Dha) that form the theka.

In written notation, a vertical line separates vibhags; a double vertical line marks the end of the cycle.

Peshkar: an opening composition in solo performance, played in vilambit laya, exploring the instrument's sound; often in a free rhythm.

Kaida: a structured theme-and-variation form; the basic bol pattern is stated and then elaborated with systematic variations (paltas).

Rela: a fast, continuous, often dense composition using repetitive bol patterns, typically in drut laya.

Gat: a fixed composition, often associated with a particular gharana; can be played in various layas.

Tukda: a short, fixed composition, often ending on sam; played as a standalone piece.

Chakradar: a composition played three times, with the ending (tihai) falling on sam each time.

Tihai: a phrase repeated three times, with the final note landing on sam.

Farmaishi Chakradar: a chakradar that includes a specific composition.

Kaida variations (paltas) must maintain the original bol structure and end on sam.

Peshkar often uses bols like Dha, Ge, Na, Tin in a flowing manner.

Tabla accompanies vocalists, instrumentalists, and dancers, providing the rhythmic foundation.

The tabla player must know the theka of the tala being performed and maintain a steady laya.

In accompaniment, the tabla player follows the main artist's improvisations and signals (e.g., for sam).

For khyal vocal, common talas are Teental (16 beats) and Ektaal (12 beats); for dhrupad, Chautal (12 beats) and Dhamar (14 beats).

For thumri and light classical, Dadra (6 beats) and Keherwa (8 beats) are common.

In instrumental music (sitar, sarod, etc.), Teental and Jhaptal are frequently used.

The tabla player must adjust volume and density to support without overpowering.

During alap (free rhythm), tabla is silent; it enters at the gat or composition.

In dance accompaniment (Kathak), the tabla player must coordinate with the dancer's footwork (tatkar).

Knowledge of the lyrics and melodic structure helps the tabla player anticipate phrases.

Tabla is believed to have evolved from the mridangam or pakhawaj; its origin is often attributed to Amir Khusrau (13th century).

Major gharanas (schools) of tabla: Delhi, Ajrada, Lucknow, Farukhabad, Benares, and Punjab.

Delhi gharana: known for its refined, balanced style; exponents include Ustad Inam Ali Khan, Ustad Latif Ahmed Khan, and Ustad Nasir Faiyaz Ahmed Khan.

Ajrada gharana: known for its rich, resonant sound and use of the bayan; exponents include Ustad Habibuddin Khan and Ustad Manju Khan.

Lucknow gharana: known for its elegant, decorative style; exponents include Ustad Afaq Hussain Khan and Pandit Swapan Chaudhuri.

Farukhabad gharana: known for its powerful, rhythmic compositions; exponents include Ustad Haji Vilayat Ali Khan and Ustad Keramatullah Khan.

Benares gharana: known for its lively, dynamic style; exponents include Pandit Ram Sahai, Pandit Kishan Maharaj, and Pandit Samta Prasad.

Punjab gharana: known for its robust, open sound; exponents include Ustad Kader Baksh and Ustad Alla Rakha.

Pandit Kishan Maharaj (Benares) was a legendary soloist and accompanist.

Ustad Zakir Hussain (Punjab) is a globally renowned tabla maestro and composer.

The tabla (dayan) is a small, cylindrical drum made of wood (often sheesham or neem), with a single goatskin head.

The dagga (bayan) is a larger, spherical drum made of copper or brass, with a wider head.

The head (puri) has a central black spot (syahi) made of iron oxide, rice paste, and gum, which gives resonance and pitch.

The syahi on the dayan is centered; on the bayan it is offset to produce a bass sound.

The drum head is laced with leather straps (tasma) and tensioned with wooden pegs (gatta) for tuning.

Tuning the dayan: adjust the pegs to achieve the desired pitch (often C# or D).

Tuning the bayan: apply pressure with the heel of the hand or use a tuning hammer to adjust the syahi? Actually bayan tuning is done by adjusting the straps and applying temporary pressure (guli) or using a tuning block.

Maintenance: keep the drum dry, avoid moisture, and apply a thin layer of oil to the wooden shell occasionally.

Replace worn heads and straps; the syahi may need reapplication by a professional.

Store in a padded case; protect from extreme temperatures and humidity.

Notation systems: Bhatkhande and Paluskar are common for Hindustani music; tabla bols are written in Devanagari or Roman.

A tala is notated with its name, number of beats, vibhag divisions, and theka.

Symbols: X = sam, 0 = khali, 2, 3, etc. = tali.

Example Teental notation: X Dha Dhin Dhin Dha | 2 Dha Dhin Dhin Dha | 0 Dha Tin Tin Ta | 3 Ta Dhin Dhin Dha.

Jhaptal notation: X Dhi Na | 2 Dhi Dhi Na | 0 Ti Na | 3 Dhi Dhi Na.

Rupak notation: 0 Tin Tin Na | 2 Dhin Na | 3 Dhin Na.

Ektaal notation: X Dhin Dhin | 2 Dha Ge Ti Ra Ki Ta | 0 Tu Na | 3 Ka Ta | 4 Dha Ge Ti Ra Ki Ta | 0 Dhi Na.

Bols are written in groups corresponding to vibhags; each vibhag is separated by a vertical line.

To recognize a tala from notation, count the matras and identify the vibhag pattern and khali position.

Common bols: Dha, Dhin, Na, Tin, Ta, Ge, Ke, Ti, Ra, Ki, Ta.

Solo performance typically begins with a peshkar in vilambit laya, followed by kaida, rela, gat, tukda, and tihai.

The performer must maintain a steady laya and clear bols.

In solo, the tabla player explores improvisation within the framework of the tala.

Accompaniment requires sensitivity to the main artist's phrasing and dynamics.

The tabla player must know the theka of the tala and be able to vary it subtly.

For accompaniment, the tabla player often plays the theka with slight variations (e.g., using different bols) to add interest.

In solo, the performer may use different layas (dugun, tigun, chaugun) to demonstrate skill.

Eye contact and visual cues help coordinate with other musicians.

Practice with metronome to develop steady laya.

Record and analyze performances to improve timing and clarity.