PSEB SS Music Tabla key terms

The larger, bass drum of the tabla pair, usually made of copper or brass, played with the palm and wrist to produce a deep, bending pitch that anchors the sound.

The smaller, treble tabla drum, typically carved from wood, tuned precisely to the soloist's tonic and struck with the fingers to produce clear, pitched strokes.

The black, iron-oxide-and-rice-paste patch applied to the drumhead's centre; it lowers and stabilises the pitch and gives the tabla its characteristic resonant ring.

The braided leather or rope lacing that runs around the drum shell, tensioning the head over the wooden or metal rim and adjusted with small tuning blocks.

The leather strap-and-ring assembly on the bayan or dayan through which the puri is threaded; tightening or loosening it alters the drum's tension and pitch.

The narrow outer rim of the tabla head, where strokes such as Na, Ta and Tin land to produce open, ringing tones distinct from the closed centre strokes.

The traditional tuning paste of iron filings, soot and rice starch used to make the syahi; also refers to the process of applying and smoothing this paste on the head.

A spoken syllable or mnemonic phrase representing a drum stroke, such as Dha, Dhin, Tin or Na; bols are the basic vocabulary of tabla language and notation.

A class of stroke quality in tabla playing, commonly divided into open (khula) and closed (band) sounds, or into four types describing the manner of striking.

Tempo or speed of a rhythmic cycle, broadly classified as vilambit (slow), madhya (medium) and drut (fast), and measured in matras per minute in practice.

A single beat or pulse counted within a tala cycle; the number of matras determines the cycle's length, for example sixteen in Teental.

A bar or section into which a tala cycle is divided, marked by tali or khali; for example, Teental has four vibhags of four matras each.

A clapped, sounded beat marking the start of a vibhag; each tali has a number, and the first is usually sam.

A waved, silent beat marking a vibhag with no clap, often the third section of Teental; it creates a contrasting 'empty' accent within the cycle.

The first and most important matra of a tala cycle, where phrases resolve and where soloist and accompanist meet; marked by a clap and central to improvisation.

One complete cycle of a tala, from sam back to sam; compositions are built in multiples of avartans and the term also denotes repetition of the cycle.

The standard, fixed bol pattern that identifies a tala and is played continuously by the accompanist, providing a stable rhythmic reference for soloist or singer.

A structured solo composition in a tala, built from a theme of bols and developed through paltas and variations while preserving the theme's character and shape.

A variation of a kayda or peshkar theme, created by reordering, extending or permuting its bols; paltas demonstrate technique and are played in sequence before returning to the theme.

An opening solo composition, usually in slow tempo, that introduces the tala through simple bol phrases and gradually builds density before a kayda is played.

A fast, continuous solo composition of rapid, even strokes, often using Dha, Dhin, Na and Ta patterns; it showcases speed and stamina and usually follows a kayda.

A short, fixed solo composition ending on sam, often with a dramatic tihai; tukdas are memorised pieces rather than developed themes.

A powerful, often syllabic composition associated with pakhawaj style, using bols such as Dha, Dhik and Tirakita; parans are used in tabla solo and in accompaniment to dhrupad.

A composition in which a phrase or tihai is repeated three times, each repetition starting at a different point in the cycle, so the final resolution lands on sam.

An elaborate chakradar built on a longer, formal phrase, typically performed in slow or medium tempo and regarded as a test of structural control and calculation.

A phrase repeated three times so that its final note falls on sam; tihais close compositions and can be calculated to resolve at any chosen beat.

A fixed instrumental-style composition played on tabla, often with a lyrical or gait-like character; in solo performance it may be followed by jhala.

An opening solo piece, often in fast tempo, that begins with resonant strokes and ends on sam; it announces the tala before peshkar and kayda.

A fast concluding section of solo performance using rapid, continuous strokes, often on the bayan and dayan alternately, creating a dense, driving texture before the final tihai.

The oldest recognised tabla tradition, traced to Siddhar Khan and associated with refined, balanced playing, clear bols, and a strong emphasis on peshkar and kayda.

A tradition descending from Miru Khan and Kallu Khan, known for powerful bayan work, dense rela and gats, and a distinctive, forceful style of stroke production.

A tradition associated with Modu Khan and Bakshu Khan, celebrated for lyrical, graceful playing, elaborate paltas and a refined, vocal-influenced approach to composition.

A tradition linked to Haji Vilayat Khan, known for pakhawaj-derived parans, strong tihais and a robust, energetic style that bridges tabla and pakhawaj idioms.

A tradition associated with Kader Baksh and later players, noted for open, resonant sound, forceful parans and a vigorous, athletic approach to solo playing.

A tradition founded by Ram Sahai, characterised by a rich, full sound, strong pakhawaj influence, extensive paran repertoire and expressive, song-like compositions.

A fourteen-matra tala, a variant of Chautal, with a distinctive vibhag and khali pattern; its theka is used in light and semi-classical settings.

A fourteen-matra tala widely used in thumri and light music, with a characteristic theka whose khali and tali arrangement gives it a lilting, swaying feel.

A fourteen-matra tala played in slow tempo, associated with khayal and thumri, with a theka that emphasises a flowing, swung gait across its vibhags.

A fourteen-matra tala used mainly for the dhamar genre and Holi songs, with a theka and compositions that reflect its festive, lyrical character.

The art of accompanying a vocalist or instrumentalist, requiring sensitive theka playing, following the soloist's phrasing and supporting rather than competing with the main artist.

A repeating melodic line played by an accompanying instrument to mark the tala cycle during tabla solo, giving the soloist a fixed reference for sam and tempo.