Category Archives: Tabla

Mastering Tihai – Farmaishi/Chakkardar

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Mastering Tihai is an in depth look at the mechanics of a Tihai.
 
To view English Subtitles please use the ‘CC’ option. Thanks.
Video links are below.
 
In Hindustani Music, Tihai is a concept of playing an identical phrase of music three times with identical intervals to create a high moment in a performance. Tihais are a living proof that complex mathematical interplay can be so enjoyable.
 
In this series you will learn how to make simple tihais and then proceed to explore the hidden simplicity of Farmaishi and Kamali Chakkardar Tihais.
 
The mathematics of these concepts have never been explained in this way before. This series should be equally fun for new and advance students of rhythm.
 
To understand the logics behind Sangtar’s methods we suggest viewing this series multiple times. If you still need more explanation or have a question beyond the subjects covered in this series, please comment below.
 
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Youtube: https://www.youtube.com/SangtarHeer
 
Video Links:
 

About the Tabla in Jinday Ni Jinday song

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0912-mumbai-2-naveen
There is always more to a good song than the ears of a general listener will catch without special directions. The first dimension or the top layer in the commercial songs is always for the general public. The first and foremost reason for releasing an album is to entertain the fans. It must fulfill its prime purpose. However, there is always more going on beneath the surface. Only the serious listeners can decode those layers.

Since the release of Kamal’s Jinday Ni Jinday, when I was thinking that no one noticed, I got many e-mails just about the Tabla in this song. For all those, who noticed that it was a little more than your average thekas, you are right. Tabla composition of this album is simple but played perfectly by an amazing table player of Punjab Gharana, Naveen Sharma. The above picture of him playing tabla in the studio was taken when other musicians were having lunch.

Some, who follow Hindustani classical music must have seen him with Ustad Zakir Hussian. Naveen has been travelling, learning and playing jugal-bandi with Ustad Zakir Hussain for a few years now.

If you interested in rhythm, please listen to the song once more (not the video version, the full album version) and pay special attention to the Tabla. There are six Tablas in this song, three with a smaller head and three with a bigger head. Every section has three layers, left, right and center. All played one by one by Naveen. Try to decode the pick-up of the last verse. Once you begin to think about it, I am sure it will keep you up at nights for a few days, but that would be a good thing. Enjoy.

Kaida Teen Taal

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Here is another Kaida in Teen Taal.
This is a famous Punjab Gharana Kaida.
Every Player of Punjab gharana plays a version of this Kaida. This particular version is Ustad Alla Rakha’s.
I have written 5 simple Paltas below the Kaida. Try these and make some of your own.

Ustad Zakir Hussain
Kaida

1 2 3 4 5 6 7 8
X       2      
DhaTir kat tuk tirkat DhiNa gina Dhage Tina Kina
9 10 11 12 13 14 15 16
0       3      
TaTir kat tuk tirkat Dhina Gina Dhage Gina Gina

Paltas: Play each palta multiple times, eventually preparing them x1, x2 and x4

Each paltas has been stretched to two lines:
1.

1 2 3 4 5 6 7 8
X       2      
DhaTir kat tuk tirkat DhiNa DhaTir kat tuk tirkat DhiNa
9 10 11 12 13 14 15 16
0       3      
TaTir kat tuk tirkat TiNa Gina Dhage Gina Gina

2

1 2 3 4 5 6 7 8
X       2      
DhaTir kat tuk tirkat DhiNa tirkat DhiNa tirkat DhiNa
9 10 11 12 13 14 15 16
0       3      
TaTir kat tuk tirkat TiNa tirkat DhiNa tirkat DhiNa

3.

1 2 3 4 5 6 7 8
X       2      
Dha – tirkat tiktuk tirkat DhiNa tirkat DhiNa Gina
9 10 11 12 13 14 15 16
0       3      
Ta – tirkat tiktuk tirkat DhiNa tirkat DhiNa Gina

4.

1 2 3 4 5 6 7 8
X       2      
DhaTir kat tuk tirkat DhaTir kat tuk tirkat Kina Kina
9 10 11 12 13 14 15 16
0       3      
TaTir kat tuk tirkat DhaTir kat tuk tirkat Gina Gina

5.

1 2 3 4 5 6 7 8
X       2      
DhaTir katDha tirkat Dhina tirkat Dhatir katDha kina
9 10 11 12 13 14 15 16
0       3      
TaTir katTa tirkat Dhina tirkat Dhatir katDha Gina

There are many combination boles in this kaida. Here are the first 8 beats separated and written in half time:

Dha – Te Re, Ke Te Ti Ke, Te Re Ke Ti, Dhin – Na -, Ge – Na -, Dha – Ge -, Tin – Na -, Ke – Na -,

Make five more Paltas by altering and mixing the phrases and practice them on your palm. Memorize the boles before practicing on Tabla.

sangtar.com > Music Theory > Rhythm Practice

Tabla Taals and Kaidas

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When a Tabla Taal is performed, it is revealed through Kaidas. Kaidas are group of ‘boles’ (Tabla Sounds) arranged according to the strict rules of its parent Taal. As the Raags are born from Thaats, the Kaidas are born from Taals. Kaidas follow the taal section (khali-Bhari etc) structure.

Every Kaids may have three parts:

1. First the main boles of Kaida are payed: As an example, here is a simple Kaida in Teen Taal:

X 2 0 3
Dha Dha Ti Te Dha Dha Tu Na Ta Ta Ti Te Dha Dha Tu Na

2. Secondly, Paltas are played. A palta are created by mixing the original Kaida boles. The integrity of the main phrase must stay intact. As an example, here are 2 Platas of the above Kaida:
1.

X 2 0 3
Dha Dha Ti Te Ti Te Ti Te Dha Dha Ti Te Dha Dha Tu Na
Ta Ta Ti Te Ti Te Ti Te Dha Dha Ti Te Dha Dha Tu Na

2.

X 2 0 3
Dha Dha Ti Te – Dha Ti Te Dha Dha Ti Te Dha Dha Tu Na
Ta Ta Ti Te – Ta Ti Te Dha Dha Ti Te Dha Dha Tu Na

3. In the end, a phrase is extracted from a Palta and played at x4 or x8 the ‘Thah’ speed (4 times or 8 times the original tempo). This is called a ‘Rela.’ Relas are not played for each Kaida, but a Kaida without Paltas is incomplete, especially in solo performances. Here is an example of a Rela for the same Kaida. Follow the Khali Taali signs to read the full taal written in multiple lines:

X
dha – tir kat dha – tir kat dha – – – dha – tir kat dha – tir kat dha – – –
2
ta – tir kat ta – tir kat ta – – – dha – tir kat dha – tir kat dha – – –
0
dha – tir kat dha – tir kat dha – – – dha – tir kat dha – tir kat dha – – –
3
ta – tir kat ta – tir kat ta – – – dha – tir kat dha – tir kat dha – – –

In this Rela, only the bolded sections have (alternatively) lighter boles, all other beats stay the same in every section.

Read this Kaida a few times and memorize the boles. Now (along with the theory posts) I will post 10 Tabla taals in this manner. Each taal will be posted in multiple posts.
Find Teen Taal’s original boles here. Find how to play these sounds here. Revising this post (How to Learn, Read and Play Taals) may also be useful.

sangtar.com > Music Theory > Rhythm Practice

16. Famous Northern Indian Taals Part V

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Now let’s see all these taals stripped off their boles. The following Taals appear in the same order as last four posts:

Part I

Teen Taal
(16 beats, 4 sections)
sections: 4+4+4+4
signs: X-2-0-3
Aik Taal
(12 beats, 6sections)
sections: 2+2+2+2+2+2
signs: X-0-2-0-3-4

Roopak
(7 beats, 3 sections)
sections: 3+2+2
signs: X-2-3 or 0-2-3

Daadra
(6 beats, 2 sections)
sections: 3+3
signs: X-0

Kehrva
(8 beats, two sections)
sections: 4+4
signs: X-0

Jhup Taal
(10 beats, 4 sections)
sections: 2+3+2+3
signs: X-2-0-3

Part II

Teevra
(7 beats, 3 sections)
sections: 3+2+2
signs: X-2-3
Pushto Taal
(7 beats, 3 sections)
sections: 3+2+2
signs: X-2-3

Addha Teen Taal (half Teen Taal)
(8 beats, 4 sections)
sections: 2+2+2+2
signs: X-2-0-3

Theka Quwali
(8 beats, two sections)
sections: 4+4
signs: X-2

Basant Taal
( 9 beats, 9 sections)
sections: 1+1+1+1+1+1+1+1+1
signs: X-2-3-4-0-5-0-6-0

Shoolfakta Taal
(10 beats, 3 sections)
sections: 4+2+4
signs: X-2-3

Jhumpa Taal
(10 beats, 4 sections)
sections: 2+3+2+3
signs: X-2-0-3

Sool Taal
(10 beats, 5 sections)
sections:2+2+2+2+2
signs: X-0-2-3-0

Part III

Mani Taal
(11 Beats, 4 sections)
sections: 3+2+3+3
signs: X-2-3-4
Ruther Taal
(11 beats, 11 sections)
sections:1+1+1+1+1+1+1+1+1+1+1
signs: X-2-0-3-4-5-0-6-7-8-0

Char Taal
(12 beats, 6 sections)
sections: 2+2+2+2+2+2
signs: X-0-2-0-3-4

Vikram Taal
(12 beats, 4 sections)
sections: 2+3+3+4
signs: X-2-0-3

Vishav Taal
(13 beats, 9 sections)
sections: 2+2+1+1+2+1+1+1+2
signs: X-2-3-4-5-6-7-8-9

Deepchandi
(14 beats, 4 sections)
sections: 3+4+3+4
signs: X-2-0-3

Dhamaar
(14 beats, 4 sections)
sections: 5+2+3+4
signs: X-2-0-3

Ada Char Taal
(14 beats, 7 sections)
sections: 2+2+2+2+2+2+2
signs: X-2-0-3-0-4-0

Part IV

Jhumra
(14 beats, 4 sections)
sections: 3+4+3+4
signs: X-2-0-3
Guj Jhumpa Taal
(15 Beats, 4 sections)
sections: 4+4+4+3
signs: X-2-0-3

Chitra Taal
(15 beats, sections 5)
sections: 2+3+4+4+2
signs: X-2-3-4-0

Yatishekhar Taal
(15 beats, 10 sections)
sections: 1+2+2+1+1+2+1+1+2+2
signs: X-2-3-4-5-6-7-8-9-10

Punjabi
(16 Beats, 4 sections)
sections: 4+4+4+4
signs: X-2-0-3

Theka Tuppa
(16 beats, 4 sections)
sections: 4+4+4+4
signs: X-2-0-3

Tilwara
(16 beats, 4 sections)
sections: 4+4+4+4
signs: X-2-0-3

Vishnu Taal
(17 beats, 5 sections)
sections: 2+3+4+4+4
signs: X-2-3-4-0

Mut Taal
(18 beats, 9 sections)
sections: 2+2+2+2+2+2+2+2+2
signs: X-0-2-3-0-4-5-6-7
Also see Famous Northern Indian Taals Part I, Part II, Part III & Part IV

sangtar.com > Music Theory > Basic Theory > (also in Rhythm Practice)

15. Famous Northern Indian Taals Part IV

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Jhumra
(14 beats, 4 sections)

Taal signs

X

2

0

3

Maatras

1       2      3

4       5      6       7

8     9   10

11    12    13     14

Boles

Dhin dhin nuk

Dhin dhin dhage tirkut

Tin tin nuk

Dhin dhin dhage tirkut

Guj Jhumpa Taal
(15 Beats, 4 sections)

Taal signs

X

2

0

3

Maatras

1       2       3       4

5      6       7      8

9      10     11    12

13    14      15

Boles

Dha dhin   nuk   tuk

Dha dhin  nuk   tuk

Dhin  nuk   tuk    kit

Tuk  gadi    gan

Chitra Taal
(15 beats, sections 5)

Taal signs

X

2

3

4

0

Maatras

1         2

3       4        5

6       7      8      9

10    11  12   13

14    15

Boles

Dhi     na

Dhin   dhi   na

Tu    na     ku    ta

Truk dhi   na  dhin

Dhi    na

Yatishekhar Taal
(15 beats, 10 sections)

Taal signs

X

2

3

4

5

6

7

8

9

10

Maatras

1

2    3

4   5

6

7

8    9

10

11

12  13

14  15

Boles

Dha

Tata dhi

Na  truk

dhin

dhin

Na  tata

Dhage

Na,dha

Truk dhina

Gadi gan

Punjabi
(16 Beats, 4 sections)

Taal signs

X

2

0

3

Maatras

1        2     3     4

 5      6      7     8

9      10    11   12 

13    14    15   16

Boles

Dha -dhi  -k  dha

Dha -dhi  -k  dha

Ta   -Ti    -k    Ta

Dha -dhi  -k  dha

Theka Tuppa
(16 beats, 4 sections)

Taal signs

X

2

0

3

Maatras

1      2     3     4

 5      6      7     8

9     10  11   12 

13    14  15    16

Boles

Dhin  ta dhin  dhin

Dhin  ta   dhin    –

Dha  ghe din    –

Dhin  ta  dhin  dhin

Tilwara
(16 beats, 4 sections)

Taal signs

X

2

0

3

Maatras

1       2     3     4

 5     6    7     8

9    10   11   12 

13  14  15    16

Boles

Dha tirkut dhin dhin

Dha  dha   tin   tin

Ta  tirkut dhin dhin

Dha dha  dhin  dhin

Vishnu Taal
(17 beats, 5 sections)

Taal signs

X

2

 3

4

0

Maatras

1      2

3      4     5

 6     7      8     9

10   11   12  13

14  15   16  17

Boles

Dhi   na

Dhin dhi  na

Dhin truk dhi   na

Dhin dhi  na  dhin

Dhi  na   dhi  na

Mut Taal
(18 beats, 9 sections)

Taal signs

 X

0

2

3

0

4

5

6

7

Maatras

 1     2

3     4

5      6

7     8

9     10

11   12

13   14

15   16

17   18

Boles

Dha  –

Dhi   d

Nu   k

Dhi   d  

Nu   k

Ti     t

Ku    t

Ga   di 

Ga    n

Also see Famous Northern Indian Taals Part I, Part II, Part III & Part V

sangtar.com > Music Theory > Basic Theory > (also in Rhythm Practice)

14. Famous Northern Indian Taals Part III

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Mani Taal
(11 Beats, 4 sections)

Taal signs

  X

  2

 3

4

Maatras

  1        2        3

  4         5

 6        7       8

 9      10       11

Boles

Ta       Dhi      T

 Ki         T

Dha    ki       t

Ta       ki       t

Ruther Taal
(11 beats, 11 sections)

Taal signs

X

2

0

3

4

5

0

6

7

8

0

Maatras

1

2

3

4

5

6

7

8

9

10

11

Boles

Dhin

Na

dhin

na

Ta

tin

na

Ku

Ta

Dhi

Na

Char Taal
(12 beats, 6 sections)

Taal signs

X

 0

2

0

 3

4

Maatras

1         2

  3       4

5           6

7         8

 9       10

11          12

Boles

Dha   dha

Din     ta

Ke,te   dha

Din     ta

Ti,te   kut

Ge,de   ge,na

Vikram Taal
(12 beats, 4 sections)

Taal signs

  X

 2

 0

3

Maatras

1          2

3          4         5

6         7         8

9      10      11      12

Boles

Dha     –

Dhin    Ta        –

Ku      –         Ta

Tit    kut     gadi    gan  

Vishav Taal
(13 beats, 9 sections)

Taal signs

X

2

3

4

5

6

7

8

9

Maatras

1       2

3       4

5

6

7     8

9

10

11

12      13

Boles

Dha   –

Dhi  na

na

ke

Dhi   –

Dhin

na

na

Ku       ta

Deepchandi
(14 beats, 4 sections)

Taal signs

X

2

0

3

Maatras

1        2       3

4       5       6      7

8        9      10

11     12     13    14

Boles

Dha  Dhin   –

Dha   Ge   tin     –

Ta     tin       –

Dha   Ge   Dhin  –

Dhamaar
(14 beats, 4 sections)

Taal signs

X

2

0

3

Maatras

1      2       3       4       5

6        7

8       9      10

11    12     13       14

Boles

Ke    dhi    t        dhi     t

Dha   –

Ke     ti         t

Ti       t        ta        –

Ada Char Taal
(14 beats, 7 sections)

Taal signs

X

2

0

3

0

4

0

Maatras

1         2

3         4

5     6

7     8

9      10

11   12

13     14  

Boles

Dhin   Dhin

Dha   tirkut

Tu   na

Ku   ta

Dhin Dhin

Na  Dhin

Dhin    na

Also see Famous Northern Indian Taals Part I, Part II, Part IV & Part V

sangtar.com > Music Theory > Basic Theory > (also in Rhythm Practice)

13. Famous Northern Indian Taals Part II

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Teevra
(7 beats, 3 sections)

Taal signs

X

2

3

Maatras

1        2        3       

4          5

6        7     

Boles

Dha    din     Ta

Tit      kit

Gadi   gan

Pushto Taal
(7 beats, 3 sections)

Taal signs

X

2

3

Maatras

  1        2        3       

4          5

6        7     

Boles

Truk  Dhin    –

Dha   Dha

Tin     –

Addha Teen Taal (half Teen Taal)
(8 beats, 4 sections)

Taal signs

  X

   2

  0

   3

Maatras

   1               2

    3            4

  5            6       

   7              8

Boles

Dha,dhi      -,na

Dha,dhi      – ,na

Ta,tin      – ,na

Dha,dhi      – ,na

Theka Quwali
(8 beats, two sections)

Taal signs

X

2

Maatras

1        2        3        4

5        6        7        8

Boles

Dha   kut     dha   Dhin

Ta     kut     ta      tin

Basant Taal
( 9 beats, 9 sections)

Taal signs

X

2

3

4

0

5

0

6

0

Maatras

1

2

3

4

5

6

7

8

9

Boles

Dha

det

det

thun

thun

tir

kut

gadi

gan

Shoolfakta Taal
(10 beats, 3 sections)

Taal signs

X

2

3

Maatras

1          2          3           4

5         6

7         8         9          10

Boles

Dhin   dhin     dha     tirkut

Tu      na

Kut    dhin    dhin        na

Jhumpa Taal
(10 beats, 4 sections)

Taal signs

  X

  2

 0

3

Maatras

  1              2

  3          4           5

 6           7   

 8           9         10

Boles

Dha           –

Dha      ge        Ti

Te         Tin

Dha       Ki         T

Sool Taal
(10 beats, 5 sections)

Taal signs

X

0

  2

 3

 0

Maatras

1          2

3          4

  5           6

 7            8

 9          10

Boles

Dha     dha

Dhin      Ta

Kit       Dha

Tir         Kut

Gadi    Gan

Also see Famous Northern Indian Taals Part I, Part III, Part IV, & Part V,

sangtar.com > Music Theory > Basic Theory > (also in Rhythm Practice)

12. Famous Northern Indian Taals Part I

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These are some of the famous Taals in Northern Indian music. Although most Tabla players know all the following Taals, but they don’t get to play them very often. Most commonly used Taals are ‘Teen Taal’ (16 beats), ‘Aik Taal’ (12 beats), ‘Roopak’ (7 beats), ‘Dadra’ (6 beats), ‘Kehrva’ (8 beats) and ‘Jhup Taal’ (10 beats). Soon there will be videos, showing you all these taals on the Palms and on Tabla.

Teen Taal
(16 beats, 4 sections)

Taal signs X       2       0       3      
Maatras 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Boles dha dhin dhin dha dha dhin dhin dha dha tin tin ta ta dhin dhin dha

Aik Taal
(12 beats, 6sections)

Maatras

1

2

3

4

5

6

7

8

9

10

11

12

Taal signs

x

 

0

 

2

 

0

 

3

 

4

 

Teka

dhin

dhin

dha,ge

tirkat

tu

na

ku

ta

dha,ge

tirkat

dhin

na

Roopak
(7 beats, 3 sections)

Taal signs

0

2

3

Maatras

1        2        3       

4          5

6        7     

Boles

Tin    tin      na

Dhin     na

Dhin    na

Daadra
(6 beats, 2 sections)

Taal signs

X

0

Maatras

1          2          3     

4        5        6      

Boles

Dha    Dhin        na

ta    tin      na

Kehrva
(8 beats, two sections)

Taal signs

X

0

Maatras

1        2        3        4

5        6        7        8

Boles

Dha   ge     na     ti

Na     ke     dhi        na

Jhup Taal
(10 beats, 4 sections)

Taal signs

  X

  2

 0

3

Maatras

  1              2

  3          4           5

 6           7   

 8           9         10

Boles

Dhin          na

Dhin     Dhin       na

Tin        na

Dhin     Dhin       na

Also see Famous Northern Indian Taals Part II, Part III, Part IV & Part V,

sangtar.com > Music Theory > Basic Theory > (also in Rhythm Practice)

11. How to Learn, Read and Play Taals

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To master a Taal, first memorize the boles, then learn to read (show) it on your palm. If you know a Taal’s flow by heart, then you can take any boles (sounds) and make them fit in that Taal.

Showing a Taal on your palm
Method:

  1. Get your left palm out and count 1,2,3,4, 5,6,7,8 (beats in a Taal vary Taal to Taal) in any constant speed. Take a little paus before ‘5’, thus accenting 1st and 5th beat. Or count, 1 and 5 loudly than the others.
  2. Now each time you say a number, touch your left palm with one of the finger tips of your right hand.
  3.  Now clap on one (very quietly) with all four fingers on your left palm and count 2, 3, 4 with using your index, second and third finger tips.
  4.  On 5, do not clap, move your right hand away to the right instead, leaving this beat empty.
  5. Count 6,7,8 the same as 2,3,4 by using your index, second and third finger tips.
  6. You just counted the ‘Kehrva Taal’ on your palm.  It will look something like this:

Kehrva
(8 beats, two sections)

Taal signs X 0
Beats 1 2 3 4 5 6 7 8
Boles Dha Ge Na Ti Na Ke Dhi na
Hands Clap 1st 2nd 3rd Wave 1st 2nd 3rd

The Purpose:
The purpose to count on hand is getting to know a Taal. You can sing anything while giving the Taal with your hand. It is a perfect way to find out if your piece ends on one (sum) or not. Or you can try to make a pick up or a fill. Once again, this is how the palm system goes:

  1. we clap on every clap point (that is the Sum and the other Taali points in a Taal)
  2. We count all the other beats with our finger tips just to keep rhythm.
  3. We wave our right hand to the right to show Khali (empty point).

Sometimes only the Sum (first beat) and the Khali (ligheter point/s) are shown on the hand. It is called ‘giving Khali-Taali’. Please refer to definitions of rhythmic words to know more about these words.

A key to pronounce and memorize Tabla Boles (sounds)
The Tabla boles (sounds) can be really hard to remember if you see them individually. The key to memorize them is to see them as a group. Try to form a combination bole (sound). Sometimes the combination boles are spread over two, three or four beats. If that is the case, then I have tried to spell them as they appear in the list of combined boles in the last post. See the broken ‘words’ and pronounce them together in whatever time they are written in. If there is no combination bole (sound) then try to read a section together. Memorize it then read the next section. In most Taals, you will find that you only have to memorize a portion of it. As the whole Taal forms a poetry of boles. For example let’s see ‘Daadra Taal’s’ (name of a 6 beats pattern) structure:

Taal Daadra
(6 beats, 2 sections)

Taal signs X 0
Beats 1 2 3 4 5 6
Boles Dha Dhin na Dha tin na

Let’s separate Dayan and Bayan and see what is going on

Taal signs X 0
Beats 1 2 3 4 5 6
Dayan (right) Ta Tin Na Ta Tin Na
Bayan (left) Ge Ghe Ge

Here you see that in the both sections, the right hand is playing the same thing. To make the first beat and the first section heavier, two boles (sounds) have been added with the left hand. As I have described before, ‘ta+ge’ is ‘Dha’ and ‘tin+ghe’ is ‘Dhin’.

So find this kind of hidden repetition in the sections of Taals. It is just like any drum patterns. If you take them apart and write them in sections, you will see that how the bass drum separates the Taali (heavier) and Khali (lighter) sections.

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