User:ShubhanTelang/Course Introduction

<User:ShubhanTelang/In the World of Tabla (Tabla course)

Chapter 1

Introduction

Hindustani classical music is the art music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or Śāstriya Saṅgīt. Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent. The instrument Tabla falls under the instruments of Hindustani classical music.

The tabla consists of two single-headed, barrel-shaped small drums of slightly different sizes and shapes: daya also called dahina meaning right (also called "tabla"), and baya also called bahina meaning left (also called "dagga"). The daya tabla is played by the musician's right hand (dominant hand), and is about 15 centimetres (~6 in) in diameter and 25 centimetres (~10 in) high. The baya tabla is a bit bigger and deep kettledrum shaped, about 20 centimetres (~8 in) in diameter and 25 centimetres (~10 in) in height. Each is made of hollowed out wood or clay or brass, the daya drum laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membrane. The daya is tuned to the ground note of the raga called Sa (tonic in India music). The baya construction and tuning is about a fifth to an octave below that of the daya drum. The musician uses his hand's heel pressure to change the pitch and tone colour of each drum during a performance.

A demo of Tabla playing

The playing technique is complex and involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds and rhythms, reflected in mnemonic syllables (bol). In the Hindustani style tabla is played in two ways: band bol and khula bol. In the sense of classical music it is termed "tali" and "khali". It is one of the main qawali instrument used by Sufi musicians of Bangladesh, Pakistan and India. The tabla is also an important instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during bhajan and kirtan singing.

The smaller drum, played with the dominant hand, is sometimes called dayan (literally "right" side ), dāhina, siddha or chattū, but is correctly called the "tabla." It is made from a conical piece of mostly teak and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic, dominant or subdominant of the soloist's key and thus complements the melody. The tuning range is limited although different dāyāñs are produced in different sizes, each with a different range. Cylindrical wood blocks, known as gatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning is achieved while striking vertically on the braided portion of the head using a small, heavy hammer.

Chapter 2

History of Tabla

The tabla uses a "complex finger tip and hand percussive" technique played from the top unlike the Pakhawaj and mridangam which mainly use the full palm, and are sideways in motion and are more limited in terms of sound complexity.

The origins of tabla repertoire and technique may be found in all three, and in physical structure there are also similar elements: the smaller pakhawaj head for the dayan, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak.

As per Some historical stories, there are very interesting stories about the creation of Tabla. Two stories are majorly known. Both these stories are very old. During a Indian wedding there was dance that was conducted. Various instrumental background supported the wedding dance. A Mrudunga player was playing in that wedding. He had hanged the Mrudunga by a rope around his neck. Suddenly the Mrudunga fell and broke into 2 pieces. One was a big piece while the other was a small one. The Mrudunga player placed the 2 broken pieces of the Mrudunga horizontally and started playing with both of his hands. A more beautiful sound came out as rhythm. Hearing the sound of the 2 broken pieces of the Mrudunga, the Mrudunga player exclaimed "तूटा तभभी बोला !" (This is Hindi language), That meant 'it broke but still can be made/used to play'. The frequent use of the words or different pronunciation said by the Mrudungaplayer 'तभभी बोला', lead to an unusual word due to mispronunciation as 'तबला' or 'Tabla'. This was the creation of the instrument Tabla the name that Tabla got.

The second story is also similar, but the difference is that the 1st story's scene was in a wedding, and the 2nd story's scene is in a court of a king. There was entertainment going on for that king. This was a Jugalbandhi between 2 players playing a Mrudunga, these players were Ustad Sudhar Khan Dadhi and Bhagwan Das. One of the player hanged the Mrudunga by a rope around his neck. Suddenly the Mrudunga fell and broke into 2 pieces. One was a big piece while the other was a small one. The Mrudunga player placed the 2 broken pieces of the Mrudunga horizontally and started playing with both of his hands. A more beautiful sound came out as rhythm. Hearing the sound of the 2 broken pieces of the Mrudunga, the Mrudunga player exclaimed "तूटा तभभी बोला !" (This is Hindi language), That meant 'it broke but still can be made/used to play'. The frequent use of the words or different pronunciation said by the Mrudungaplayer 'तभभी बोला', lead to an unusual word due to mispronunciation as 'तबला' or 'Tabla'. This was the creation of the instrument Tabla the name that Tabla got.

Chapter 3

Names of fingers in Tabla

It becomes very easy to teach online or virtually if you know the names of the fingers so that we may demonstrate and playing of something in Tabla, it will be told that this finger should be used to play that particular bol or that particular demonstration.

Thumb - Angutha ( अंगूठा )

Index Finger - Tarjani ( तर्जनी )

Middle Finger - Madhyama ( मध्यमा )

Ring Finger - Anamika ( अनामिका )

Little Finger - Kanishthika ( कनिष्ठिका/कनिष्ठा )

Construction and features

The larger drum, played with the other hand, is called bāyāñ (literally "left") duggī or dhāmā (correctly called "dagga"), has a much deeper bass tone, much like its distant cousin, the kettle drum. The bāyāñ may be made of any of a number of materials. Brass is the most common, copper is more expensive, but generally held to be the best, while aluminum and steel are often found in inexpensive models. Sometimes wood is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal.

The name of the head areas are:

Circumference of the Dayan: Chat, Chanti, Kinar
The middle area of the Tabla: Sur, Maidan, Luv
Center of the Tabla: Syahi

Following are the pictures of parts of Tabla and for better understanding. The first picture contains both Dayan and Bayan. The second and the third pictures contain the Bayan and the Dayan respectively,

The head of each drum has a central area of "tuning paste" called the syahi (lit. "ink"; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch (see inharmonicity) and variety of tonal possibilities unique to this instrument which has a bell-like sound. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument.

For stability while playing, each drum is positioned on a toroidal bundle called chutta or guddi, consisting of plant fiber or another malleable material wrapped in cloth.

Chapter 4

Basic strokes

Some basic strokes and Bols in Tabla with the dayan on the right side and the bayan on the left side are:

Examples of *bol*, notation and additive counting in Hindustani classical music Specifically in Tabla

Ta (ता) : (on dayan) striking sharply with the index finger against the rim while simultaneously applying gentle pressure to the edge of the syahi with the ring finger to suppress the fundamental vibration mode.
Ghe or ge (घे or गे): (on bayan) holding wrist down and arching the fingers over the syahi; the middle and ring-fingers then strike the maidan (resonant).
Gha (घा):(on bayan) striking the index finger.
Tin (तीं): (on dayan) placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan (resonant).
Dha (धा): combination of Na and (Ghe or Ge). This is a bol that uses both hands. It is a combination of Taa and Ga. There are at least four ways to play this bol; however the two most common versions are the Delhi (Dilli) style and the Purbi style.
Dhin (धीं): combination of Tin and (Ghe or Ge). Dhin is a simultaneous playing of Ga and Tin. There are at least four different ways to play Dhin.
Ka or Kath or Ki or Ke (क or कत् or कि or के): (on bayan) striking with the flat palm and fingers (non resonant).
Na (ना): (on dayan) striking the edge of the syahi with the last two fingers of the right hand.
Te (ती): (on dayan) striking the center of the syahi with the middle finger (non resonant).
Te ta (तीट): (on the dayan) striking the center of the syahi with the middle finger first and then the index finger.
Tirakita (तिरकीट): (on both the dayan and the bayan) first striking the center of the syahi with the middle finger and then the index finger on the syahi, producing Ti and Ra respectively (here Ra and Ta are the same, in short the first 2 syllables Tira are played just like TeTa). Then striking with the flat palm and fingers (non resonant) which would produce Ki (Ka). Then playing the last syllable Ta by again striking the center of the syahi.
Taka (तक): (on both the dayan and the bayan) first striking the center of the syahi with the middle finger and then striking with the flat palm, producing Ta and fingers (non resonant), producing Ka.
Dhi Ta (धीट): (Ghe + Te ta) playing te ta just like striking the center of the syahi with the middle finger first and then the index finger. As you play te that is the 1st syllable with you play with the middle finger on the syahi on the dayan, you need to play Ghe just like holding wrist down and arching the fingers over the syahi; the middle and ring-fingers then strike the maidan (resonant).
Tu / Tun (तू/तून): (on dayan) striking the center of the syahi with the index finger to excite the fundamental vibration mode (resonant).
Dhere dhere (धीर धीर):(on dayan) striking of syahi with palm.

Please see the video for basic strokes of Tabla that is given below. This video is from the 'Play Tabla - Oxford, teaching video 1 of 15, BOL(stroke)'.

https://www.youtube.com/watch?v=gCB9Ke81Hs4

To learn how to play tabla, start by sitting cross legged with the smaller drum on your right and the larger drum on your left. Next, place your middle, ring, and little fingers of your right hand on the smaller drum, or the dayan. Lift your hand a few inches and strike the drum at the center with these 3 fingers.

Chapter 5

Concepts and Definitions in Tabla

1. Indian Classical music - Indian classical music is the classical music of the Indian subcontinent, this includes India. It has two major traditions: the North Indian and Pakistani classical music tradition is called Hindustani, while the South Indian and Sri Lankan expression is called Carnatic.

2. Hindustani classical music - Hindustani classical music is the art music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or Śāstriya Saṅgīt. Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent. The instrument Tabla falls under the instruments of Hindustani classical music.

3. Tabla - The Tabla consists of two single-headed, barrel-shaped small drums of slightly different sizes and shapes: Daya also called Dahina meaning right (also called "Tabla"), and Baya also called Bahina meaning left (also called "Dagga"). For removing confusion, Tabla is the collection of the Baya (Dagga) and Daya (Tabla). And the Daya is also called Tabla. So the term Tabla is used for 2 objects i.e. the Daya (left instrument) and also both the Daya and the Baya. If you have any confusion in this part (as it is confusing ) , please ask doubts and questions or any queries in the Talk page of this course.

Following concepts and definitions are used in Tabla (from 1 to 12):

Structure of the Tabla - The diameter of the tabla is smaller at the top and it gradually increases in diameter towards the lower end of the tabla. It is generally 4 or 6 inches diameter at the top and around 9 inches diameter at the bottom. In general, the smaller the diameter at the top, the higher the pitch of sound it produces. So many tabla players will keep two or more tabla with different diameter to produce different sound pitches. Normally heavier the wood better is the tonal quality of the tabla.

(i) Parts of Tabla : Dayan, Bayan, Puri, Chatti , Goth, Syahi, Maidan/Lav, Gajra, Baddhi, Gatta, Lakri/Kat, Gadi/Adhara, Hathauri are the parts of the Tabla.

(ii) Dayan - Daya also called Dahina meaning right. It is also called Tabla. For removing confusion, Tabla is the collection of the Baya (Dagga) and Daya (Tabla). And the Daya is also called Tabla. So the term Tabla is used for 2 objects i.e. the Daya (left instrument) and also both the Daya and the Baya.

(iii) Bayan - Baya also called Bahina meaning left. It is also called Dagga or the Duggi. The duggi is made of clay, copper or brass nickel plated from outside.Bayan or the Duggi Parts of Duggi Noticeably the diameter of duggi is larger than the diameter of tabla and this is what produces the bass sound. The Bayan is made up of any of a number of materials. Brass is the most common, copper is more expensive, but generally held to be the best, while aluminum and steel are often found in inexpensive models. Sometimes wood is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal.

(iv) Puri - The Tabla and the Dugga are enveloped by a circular piece of goat skin, which is professionally seasoned using some special chemical before being wrapped on the tabla. Thicker this skin wrapping, better is the sound of tabla at higher pitches. This skin covering is called as Puri. In fact, this skin has two layers. The uppermost layer is cut in a circular shape to form the outer rim of the tabla.

(v) Chatti and Goth - This uppermost layer is cut in a circular shape to form the outer rim of the tabla is called the Chatti. The rim or the ‘chatti’ is about ½ inch on the Tabla. In the same way, the round rim on the right Tabla is called as Goth and to some extent is wider than the chatti of tabla. The rim or the ‘chatti’ as you can see is about half inch on the tabla. Similarly the circular rim on the right tabla it is called as ‘goth’ which is slightly wider than the chatti of tabla.

(vi) Syahi - The black round smearing on both tabla and dagga are called Syahi (ink). Thicker the ink-coat, lower is the pitch and vice versa. It is a paste from mixture of iron fillings, rice paste and some adhesive to bind it all. This ink is placed centrally on the Tabla, but wildly on the dagga. These ink drops provide the tabla player a chance to change or control the pitch and resonance of tabla. Syahi which literally means ‘ink’ in Hindi, is a paste made from mixture of iron fillings, rice paste and some adhesive to bind it all.Also note that the black area is placed centrally on the tabla but eccentrically on the duggi. These Syahi provide the tabla player an opportunity to vary or better control the pitch and resonance of tabla. In general, thicker the coating of syahi, lower is the pitch and vice versa.

(vii) Maidan/Lav - The part of the original and visible skin wrapping is called as Maidan or Lav.

(viii) Gajra - The outmost ring that attaches the skin to the Tabla body is known as the Gajra. This Gajra has 16 holes through which the tuning straps are fastened across the tabla and dagga body. Thus, the skinhead firmly connects to the entire body.

(ix) Baddhi - The leather straps are called as Baddhi. The baddhi are interwoven through the gajra at the top and the bottom. There is a circular hide called the Gurri. It gives stability and the tension in the skinhead.

(x) Gatta - The round wooden blocks are called the Gatta or Gulli. When it is dragged downwards, it increases the tension on the skin and lowers the tension when dragged up. The Gatta is used to tune the tabla.

(xi) Lakri/Kat - The Tabla is made from a block of wood around 12 inches in height. It is mostly made of jackfruit, neem or sheesham wood. The wooden portion of the tabla is called the Lakri or Kat which literally translates to wood in Hindi. The wood is scooped from inside up to about 4 inches and the rest is block wood.

(xii) Gadi/Adhara and Hathauri - The tabla and duggi are placed on Gadi or Adhara which are made of straw and are covered with cloth. The ‘Addhar’ provides stability to the instrument while playing and the player can easily change the position of the instruments without having to worry about it falling off.And finally note the tuning hammer or the Hathauri which is used for tuning.

Following is the picture of the parts of the whole of Tabla and other necessary equipments :

4. Bol - A Bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."

5. Taal (Tala) - Tala is the regular rhythmic pattern of equally placed beats of any composition. The word Taal literally means ‘a clap. In Hindustani Classical Music, the Tabla is the most commonly played musical instrument to keep Taal.

Some basic terms used in Taal are :

6. Tali (accentuated) - The pattern of clapping of hands is called Tali. Each Taal has a particular pattern and number of Talis.

7. Khali (non accentuated) - Wave of the hands is called Khali. Khali has a characteristic relationship to Tali.

8. Matra - One beat or one unit of a Taal is called the Matra. It is the unit to measure Taal. It is a beat, the smallest rhythmic sub-unit of a tala - the musical meter. It is one of the three levels of structure for tala. The significance of beats depends on their occurrence in a cycle. However, the value of the beats may be stretched or contracted depending on various factors.

9. Anga - Anga is the sub section or bar division of a Taal is called Anga.

10. Jati - The class or group of a Taal is called the Jati of the Taal. Taals are generally grouped according to the Angas. The different Jatis of Taal are :

(i) Chatusra Taal: groups of 2 or 4 beats

(ii) Tisra Taal: groups of 3 or 6 beats

(iii) Mishra Taal: group of 3 and 4 or 3 plus 2 plus 2 beats

(iv) Khanda Taal: group of 5 beats

(v) Sankirna Taal: with mixed groups

11. Sam - The starting matra(beat) in a Taal is called the Sam. Sam is always a Tali (clap), except Rupak Taal where Sam is a Khali (wave).

12. Tithai - The musical phrase sung or played thrice to arrive at the Sam is called a Tithai.

13. Avartan - The basic repeated cycle of a Taal is called the Avartan.

14. Theka - The set pattern of Bols and Angas which define a Taal is called the Theka.

15. Laya - The speed or tempo at the which the rhythm is played is called the Laya. Laya can be Vilambit (slow), Madhya ( medium) , Drut (fast), Ati Vilambit (very slow) or Ati Drut (very fast).

(i) Vilambit Laya - Vilambit Laya is an introductory slow tempo, or laya, between 10 and 40 beats per minute, used in the performance of a raga in Hindustani classical music. For major ragas, the vilambit portion generally takes up two-thirds or more of the performance, and is followed by a short drut to conclude the performance. Vocalists use a slower definition of time than instrumentalists.

(ii) MadhyaLaya - Madhya laya or Madhyalaya is a medium tempo of a rhythm in Indian classical music. While Madhya laya is sometimes confused with Vilambit and vice versa, it is about two beats per second. According to some scholars, Madhya laya is visible in three phase: Madhya + Vilambit, Madhya + Madhya, Madhya + Drut. It could be said that what is characterized as Chhanda in first felt in Madhya tempo. Chhanda can be defined as generations of a definite, repetitive line of recognizable duration that bestows a definite length on the concerned tonal phase.Madhaya + Madhya = Also known as ‘Madhya Jod’ or ‘Barabar ki jod’ abundantly consists of musical embellishment known as ‘Gamaka’. In ‘tata’ instruments, fretwork is on the increase in the phase. Madhya + Drut= The phase is also known as ‘Ladi ki jod’. It has a faster tempo than the Madhaya + Madhya. Taals used in madhya laya include Jhaptal, Teental, Tilwada, Rupak and Keherwa.

(iii) Drut Laya - Drut Laya is the concluding section, in fast tempo (or laya), between 160 and 320 beats per minute, of the performance of a vocal raga in Hindustani classical music.

16. Khand/Vibhag - A Taal typically has Khands (columns) divided by bars. Each interval between the bars is called a Khand. It is also called Vibhag. The meaning of the word Bhag from is parts. The actual measure of the Vibhag is borders or boundaries or boundary lines, in short not in continuity or not continuous. The talas in Tabla or in any other percussion instrument in classical music have Vibhagas to get a track of the beats on Matras on which the singer or player is singing or playing on.

17. Kayda - Kayda is an amazing piece of bols (beats) in tabla. It adds charm to your performance. Basically Kayda is a set of bols which are fixed. 'कायदा' means a rule or particular way of doing something as understood by its meaning. Kayda comprises of one fixed bol in the particular taal. And it is followed by ‘Palta’ or say, variations. So, we have to take a bol and make different variations of it. The bols must not be changed. In this way, kayda expands our thinking ability. We practice many variations and ultimately we can create many more. This helps in stage performances and adding fillers in instrumental music.

Basic Structure of Kayda (from 1 to 7)-

1. Mukh - Basic bol which is called as Mukh that means face of the particular Kayda.

2. Dohara - Dohara is the repetition of the Mukh 3 times. Dohara means to repeat. In Hindi iit is called Doharana that means to repeat.

3. Adha Dohara - This is the repetition of the first bol of the Mukh.

4. Vishram - Vishram means taking rest. A minute of pause is taken from the bol.

5. Adha Vishram - It is the repetition of taking a pause i.e. repetition of the bol that was repeated in Vishram.

6. Palta - Palta is a variation of various bols but these bols are stuck or are only from the bols which are there in the Mukh. This Palta is a section. Now what it means that Palta is a section. It means that like Mukh, Dohara, Adha Dohara, Vishram , Adha Vishram, these 4 names are not or cannot be repeated. So there is no duplications of all the 4 names taken. So all of the 4 names taken above, there are played olny once. But a Palta, as said it is a section. joining various bols many such Palte (plural form of Palta) can be created.

7. Tihai - The musical phrase sung or played thrice to arrive at the Sam is called a Tithai. It is the last part of a Kayda. The Mukh's last part is played thrice i.e. 3 times where the particular Kayda is ended.

18. Rela - The Rela means a 'torrent' or a 'rush' sometimes associated with the sound that a train makes. A Rela is different from a Kayda. The rou rela is a continuum of drumming that is performed on the tabla. It is part of the Indian vocabulary (if you will) of drumming.

19. Tukada - A Tukda is a miniatured version of Paran - in that it is composed of similar, heavy, resonant bols and also ends with a Tihaai. Tihai (pronounced ti-'ha-yi) is a polyrhythmic technique found in Indian classical music, and often used to conclude a piece. Tihais can be either sung or played on an instrument. Tukada is an attractive patterns sound syllables played prior to Sam in Tabla. Generally it covers a short span of two or four beats and it is mainly designed to cover space between two claps. A longer Tukada may include a Tihai.

20. Mukada - Mukada or Mukhda or Mohra refer to short set of tabla bols which are pled at the beginning of a taal. Mohra or mukhda are generally used as an introductory phrase at the beginning and they lead to the sam of the taal to be played. Many tabla players use the two terms 'mukhda' and 'mohra' interchangeably.

21. Chakradhar - Chakradhar Paran. The term 'Chakradhar' literally means 'one which lends itself to repetition'. Therefore paran composition which tend to have repetitive pattern are called chakradhar paran. ... Farmaishi chakradhar paran are those parans where the first 'dha' of the tihai of the first cycle comes to 'sam'.

22. Laggi - The Laggi is a light form of aggressive accompaniment. Some musicians define laggi by its function and others define it by its bol. Therefore the form of laggi my vary tremendously from artist to artist. When laggi is defined by function, one may find almost any bol used.

23. Paran - A major composition-type in the rhythm-music composed for Pakhawaj. It is of many kinds and an ability to extensively elaborate a Paran is recognized as a criterion for judging a player.

24. Peshkar - Generally, Peshkar designates the first or opening composition played in a solo tabla recital. So the complete word Peshkar, may be taken to mean, if a little loosely, that pattern which opens a presentation of tabla playing for an interested audience. It is a pretty complicated pattern comprising all the tabla akshras (alphebets), and it is a little longer than the basic structure of a kaida. In accordance with our traditional practice of rhythm, a peshkar has to be played with slow tempo, so that the fingers may get a little enlivened for a proper execution of the alphabets that make the language of Hindustani rhythm. In other words, it is a kind of artistic warm-up for what is to follow. The truth rather is that a peshkar also serves the purpose of showing ( to the player himself and listeners alike) how laya admits of controlled variations and so makes for diverse rhythmic designs, though of course with the aid of bols. The requirement that a peshkar has to open a solo tabla recital is suggested by its very meaning as a word. Its first segment, Pesh means to present, and the second one Kar, means a maker, as in such better known words as kalakar, shilpkar. so the complete word peshkar, may be taken to mean, if a little loosely, that pattern which opens a presentation of tabla playing for an interested audience. A peshkar signals the beginning of a presentation.

25. Gharana - In Dhrupad and Hindustani music, a Gharānā is a system of social organization in the Indian subcontinent, linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharānā also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one gharānā to another. The word Gharana means house.

Types of Gharanas in Tabla :

Delhi gharana is the oldest of the tabla gharanas
Ajrara gharana is an offshoot of and closely associated with the Delhi Gharana
Lucknow gharana has rhythmic development through Kathak
Farukhabad gharana
Punjab gharana
Banaras gharana

26. Tripali – A composition within the traditional tabla repertoire that is played in three different metric divisions. Tripali compositions are designed so that the same composition may be played in three different subdivisions of the beat and still conclude at the sam of the tal. The order of the notes and rests remains exactly the same in each subdivision, as does the relative note values. The only aspect that changes is the relationship between the pulse of the music and the length of notes. For example, if a composition begins in a triplet sub-division (tisra), it will then be played in the timing of Chautisra and then in Tisra.

27. Kisma - A term used by Benares tabla players to indicate a rearangment of the same bols of tala (i.e. Prakar) is called Kisma. Also know as variation. Kisme - Plural of Kisma.

28. Layakari - Dugun (double speed), Tigun (triple speed), Chaugun (quadruple speed) etc are used to explore the style of Layakaris.

29. Dugun - When a unit is multiplied by two it is called a Dugun. The word Du means two and Gun means multiply. (Double speed). Playing two bols in one matra is called Dugun. Whenever this is written in notation form, the bols are shown as clubbed together by drawing a line under them – 1 2 3 4 5 6 7 8. The speeds doubles and there is multiplication of two of the base speed or base laya. This base laya is called as the Ekpat Laya. The word Ek means one and pat refers to division. So the base Laya is called as the Ekpat laya.

30. Tigun - When a unit is multiplied by three it is called a Tigun. The word Ti means three and Gun means multiply. The speeds triples and there is multiplication of three of the base speed or base laya. (Triple speed). Playing three bols in one matra is tigun – 1 2 3 4 5 6.

31. Chaugun - When a unit is multiplied by four it is called a Chaugun. The word Chau means four and Gun means multiply. The speeds multiples by four and there is multiplication of four of the base speed or base laya. ( speed). Playing four bols in one matra is called chaugun – 1 2 3 4 5 6 7 8.

32. Ekpat - The base laya is called as the Ekpat. The word Ek means one and pat refers to division or factors or dividing. So the base Laya is called as the Ekpat laya.

Reference