PSEB SS Music Tabla flashcards
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32 cards. Read the term and the definition here. The deck at the top of this page is optional.
- Peshkar
- An opening tabla composition in a relaxed mood, usually built on dha and ghe phrases, played before the kayda to introduce the tala and gradually build density.
- Kayda
- A strictly structured theme-and-variation composition developed through palta while preserving its bol vocabulary, ending with a tihai or mohra on sam.
- Palta
- A variation of a kayda theme that keeps the original bols but changes their order or phrasing; it is not an independent composition.
- Rela
- A fast, continuous composition of dense uniform bols such as dha tirakita, emphasising speed and flow rather than thematic development.
- Chakradar
- A composition whose fixed phrase repeats three times so that the final sam of the third repetition lands exactly on matra one of the tala.
- Farmaishi Chakradar
- An ornate chakradar using a longer, decorative phrase in farmaish style, typically closing with a distinctive tihai that resolves on sam.
- Paran
- A heavy pakhawaj-derived composition with long resonant bols, common in Banaras and Farrukhabad styles and often played in Chautal or Dhamar.
- Uthan
- An opening, rising flourish played at the start of a tabla solo to announce the performance before the peshkar and kayda.
- Sam
- The first matra of a tala cycle and its point of resolution; compositions are designed so their final phrase lands on sam.
- Khali
- An unstressed, empty vibhag marked by a wave of the hand rather than a clap; in Rupak the sam itself is khali.
- Vibhag
- A bar or section of a tala containing a fixed number of matras, marked by a tali clap or a khali wave.
- Avartan
- One complete cycle of a tala, running from sam through all its vibhags back to the next sam.
- Theka
- The basic repeatable bol pattern that identifies a tala and is used for accompaniment, distinct from solo compositions like kayda or rela.
- Varna
- The classical fourfold classification of drum strokes: uttana, parshva, kshepana and anukhepana, describing open, side, thrown and muffled actions.
- Layakari
- Tempo variation expressed as barabar, dugun, tigun, chaugun and aad, produced by subdividing or multiplying the matra unit.
- Teental structure
- Sixteen matras in four vibhags of four; tali on 1, 5 and 13, khali on 9, with the theka dha dhin dhin dha.
- Jhaptal structure
- Ten matras in vibhags 2+3+2+3; tali on 1, 3 and 8, khali on 6, theka beginning dhi na dhi dhi na.
- Ektaal structure
- Twelve matras in six vibhags of two; tali on 1, 5, 9 and 11, khali on 3 and 7.
- Rupak structure
- Seven matras in vibhags 3+2+2; sam is khali, with tali on 4 and 6, theka tin tin na dhin na.
- Dhamar tala
- Fourteen matras in vibhags 5+2+3+4; tali on 1, 6 and 11, khali on 8, used for the dhrupad-style dhamar form.
- Deepchandi tala
- Fourteen matras in vibhags 3+4+3+4; tali on 1, 4 and 11, khali on 8, standard for thumri and dadra accompaniment.
- Chautal tala
- Twelve matras in six vibhags of two; tali on 1, 5, 9 and 11, khali on 3 and 7, played with pakhawaj-style bols.
- Delhi gharana
- A tabla school traced to Sidhar Khan Dhadi, known for resonant open na, restrained vocal-style phrasing and strong peshkar, the classic band baaj.
- Ajrada gharana
- Founded by Miru Khan and Shammu Khan, noted for paired bayan-dayan ghe resonance, dense rela and close dialogue between the two drums.
- Lucknow gharana
- Associated with Modu Khan and Bakshu Khan, known for the na dhin dhin na theka and elegant gat and paran suited to accompaniment.
- Farrukhabad gharana
- Linked to Haji Vilayat Ali Khan and Masit Khan, distinguished by heavy bayan use and complex chakradar and farmaishi chakradar compositions.
- Banaras gharana
- Associated with Ram Sahai, known for dha emphasis, rich paran and tukda repertoire and close ties to Kathak dance accompaniment.
- Punjab gharana
- Associated with Ustad Kader Baksh and his lineage including Alla Rakha, characterised by crisp forceful rela and an open, resonant tonal quality.
- Tabla notation symbols
- Sam is marked X, tali by numbers 2, 3, 4, khali by 0, vibhag boundaries by vertical lines, and dashes extend a bol across matras.
- Laggi in light music
- A short fast repeating phrase played in Dadra or Deepchandi to support the climax of thumri, dadra or ghazal accompaniment.
- Dyan and bayan
- Dyan is the right-hand wooden drum tuned to Sa; bayan is the left-hand metal drum with off-centre syahi producing the bass glissando.
- Syahi care
- The black central paste of iron oxide and rice powder must stay dry; never strike it with a stick or apply oil or water.