The iUniversity
Section Two
The Tabla
A tabla is a pair of hand drums from the Indian subcontinent, that is somewhat similar in shape to the bongos. Since the 18th century, it has been the principal percussion instrument in Hindustani classical music, where it may be played solo, as an accompaniment with other instruments and vocals, and as a part of larger ensembles. It is frequently played in popular and folk music performances in India, Bangladesh, Afghanistan, Pakistan, Nepal and Sri Lanka.
Learn about talas ->
The tabla is an essential instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during bhajan and kirtan singing. It is one of the main qawali instruments used by Sufi musicians. The instrument is also featured in dance performances such as Kathak. Tabla is a rhythmic instrument.
The name tabla likely comes from tabl, the Arabic word for drum. The ultimate origin of the musical instrument is contested by scholars, though some trace its evolution from indigenous musical instruments of the Indian subcontinent.
The tabla consists of two small drums of slightly different sizes and shapes. Each drum is made of hollowed-out wood, clay or metal. The smaller drum (dayan/tabla) is used for creating treble and tonal sounds, while the primary function of the larger drum (baya/dagga) is for producing bass. They are laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membranes for tuning the drums.
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). (Wikipedia)
Talas
In North Indian (Hindustani) classical music, a tala (or taal) is a repeating rhythmic cycle that provides the rythmnic structure for a musical piece. Just as a raga provides the melodic framework, a tala provides the temporal framework, measuring time in rhythmic loops, the most common ranging from 6 to 16 beats. The most common talas in the tabla classical-music tradition are Ektal (12 beats & primary vocal music), Tintal or Teental (16 beats), japtal (10 beats), ropaktak (7 beats). Ashtamangal and Mahesh talas are older talas not well-known today, but performed and taught by tabla master Pandit Swapan Choudhuri. The “sawari” talas (Chartal Ki Sawari and Pancham Swari) are odd-number beat talas that employ a special 3-note patern (the swari) at the end (8+3 and 12+3).
List of Tabla Talas
Dadra (6 beats)
Roopak (7 beats)
Keharwa (8 beats)
Matta (9 beats)
Mahesh (9 beats)
Jhaptal (10 beats)
Chartal Ki Sawari (11 beats)
Ashtamangal (11 beats)
Ektal (12 beats)
Jhoomra Taal (14 beats)
Deepchandi Taal (14 beats)
Pancham Sawari (15 beats)
Teentaal (or Tintal) (16 beats)
Talas
Pandit Swapan Chaudhuri teaching Don Robertson “gat” (pronounced “gut”) compositions in the 1990s.
Don Robertson demonstrating how the Indian drumming language is applied to performance.
The Tabla Gharanas
There are six widely recognized gharanas (lineages or stylistic schools) of tabla in Indian classical music. Each represents a distinct geographical origin, unique finger techniques, and a specific repertoire of rhythmic compositions.
The six primary tabla gharanas are:
- Delhi Gharana: The oldest of the gharanas. It is known for its graceful, two-finger playing technique, rhythmic clarity, and melodic compositions.
- Lucknow Gharana: Developed out of the rhythm accompanying Kathak dance. It emphasizes sweeping, graceful hand movements and highly intricate fingerwork.
- Ajrara Gharana: An offshoot of the Delhi gharana. It is famous for complex tisra (triplet) jatis and highly mathematical layakari (rhythmic variations).
- Farrukhabad Gharana: A synthesis of the Delhi, Lucknow, and Ajrara styles. It incorporates a wide variety of qaidas and is celebrated for its versatility.
- Benares Gharana: Heavily influenced by the pakhawaj (a traditional double-sided drum). It is renowned for its bold, powerful sound, high-speed laggis (repetitive rhythmic phrases), and crisp solo performance.
- Punjab Gharana: Developed in the Punjab region and known for its athletic, powerful bols (syllables) and strong pakhawaj roots. It was famously popularized by Ustad Alla Rakha and his son Ustad Zakir Hussain.
While these distinct stylistic categories are deeply respected, modern tabla players frequently blend techniques and repertoires from multiple traditions to create highly individualized styles.
Tabla Solos performed by Legendary Maestros from Each Gharana
The Ajrada Gharana
The Benares Gharana
The Delhi Gharana
The Farrukhabad Gharana
The Lucknow Gharana
The Punjab Gharana
Swapan Chaudhuri – About the Tabla Gharanas
Nayan Ghosh – Memories of Ustad Ahmedjaan Thirakwa
Ustad Ahmed Jan Khan (Thirakwa) (1892 –1976)
Ustad Ahmed Jan Khan “Thirakwa” (1892–1976) was a legendary Indian tabla player and is widely regarded as the most pre-eminent tabla soloist of the 20th century. Often called the “Mount Everest of Tabla”, he revolutionized the instrument by elevating it from a mere accompanying tool to a powerful concert-solo art form.
Pandit Swapan Chaudhuri Tabla Solo