PSEB Matric Music Tabla flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Tabla

The pair of drums used in Hindustani classical music; the right-hand drum is the dayan (tabla) and the left-hand drum is the bayan (dagga).

Bols

Mnemonic syllables that represent specific drum strokes, such as Dha, Dhin, Na, Tin, Ge, and Ke; they form the vocabulary of tabla playing.

Sam

The first beat of a tala, serving as the point of resolution and confluence; marked with the symbol 'X' in notation.

Tali

A clap that marks a stressed vibhag (division) within a tala; indicated by numbers such as 2, 3, etc. in notation.

Khali

A wave of the hand that marks an unstressed vibhag within a tala; indicated by the symbol '0' in notation.

Teental

A 16-beat tala divided into four vibhags of 4 beats each (4+4+4+4); the most common tala in Hindustani music.

Jhaptal

A 10-beat tala divided into four vibhags of 2+3+2+3 beats; khali falls on the third vibhag (beat 6).

Laya

The tempo or speed of a rhythmic cycle; classified as vilambit (slow), madhya (medium), and drut (fast).

Theka

The basic bol pattern that defines a tala and is used for accompaniment; it is repeated cyclically.

Dha

A combined stroke played on both drums: Na on the dayan and Ge on the bayan, producing a resonant sound.

Dhin

A combined stroke played on both drums: Tin on the dayan and Ge on the bayan, producing a resonant sound.

Ge

A bass stroke played on the bayan (left drum) with the palm or wrist, producing a deep resonant sound.

Peshkar

An opening composition in solo tabla performance, played in vilambit laya, exploring the instrument's sound in a free-flowing manner.

Kaida

A structured theme-and-variation form in tabla solo; the basic bol pattern is stated and then elaborated with systematic variations (paltas).

Rela

A fast, continuous, and often dense composition using repetitive bol patterns, typically played in drut laya.

Gat

A fixed composition, often associated with a particular gharana, that can be played in various layas.

Tukda

A short, fixed composition, often ending on sam, played as a standalone piece in solo performance.

Tihai

A phrase repeated three times, with the final note landing on sam, creating a sense of resolution.

Chakradar

A composition played three times, with the ending (tihai) falling on sam each time; it is a test of rhythmic precision.

Kathak accompaniment

Tabla players accompany Kathak dancers by coordinating with footwork (tatkar) and providing rhythmic support for expressive movements.

Dhrupad talas

Chautal (12 beats) and Dhamar (14 beats) are the primary talas used in Dhrupad vocal and instrumental music.

Khyal talas

Teental (16 beats) and Ektaal (12 beats) are the most common talas for Khyal vocal music.

Delhi gharana

A tabla school known for its refined, balanced style; exponents include Ustad Inam Ali Khan and Ustad Latif Ahmed Khan.

Benares gharana

A tabla school known for its lively, dynamic style; exponents include Pandit Ram Sahai, Pandit Kishan Maharaj, and Pandit Samta Prasad.

Punjab gharana

A tabla school known for its robust, open sound; exponents include Ustad Kader Baksh and Ustad Alla Rakha.

Farukhabad gharana

A tabla school known for its powerful, rhythmic compositions; exponents include Ustad Haji Vilayat Ali Khan and Ustad Keramatullah Khan.

Syahi

The central black spot on the tabla head, made of iron oxide, rice paste, and gum; it gives resonance and pitch to the drum.

Bayan

The larger, spherical left-hand drum, made of copper or brass, with a wider head and an offset syahi for bass sound.

Tabla tuning

Adjusting the wooden pegs (gatta) and leather straps (tasma) to achieve the desired pitch, often C# or D for the dayan.

Bhatkhande notation

A notation system for Hindustani music that uses symbols like X for sam, 0 for khali, and numbers for tali to indicate vibhags.

Ektaal notation

A 12-beat tala with six vibhags of 2 beats: 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.

Solo performance order

Typically begins with peshkar in vilambit laya, followed by kaida, rela, gat, tukda, and tihai, demonstrating various aspects of tabla artistry.