Tabla Delhi Gharana

Prévia do material em texto

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1. THE ORIGIN OF TABLA1 
 No one knows who invented Tabla. No one knows exactly when it was invented. As 
there are no evidences there are only opinions given to us by the people who have made a 
research in the related subject or else the maestros who led their life for the sake of Tabla. 
Furthermore, no one knows exactly how it was invented. The only thing that we know for 
sure is that the Tabla showed up on the musical scene about 250 years ago. 
 There are many legends concerning the invention of the Tabla. Let us look at some of 
the more common ones. One of the most popular stories is that, the Tabla was invented by 
Amir Khusru (1253-1325). Amir Khusru was a great musician, poet, and saint of the Indian 
Sufi tradition. He is considered an icon of growing Islamic influence on Indian culture. 
Although Amir Khusru was certainly a great artist he did not invent the Tabla. Amir Khusru 
lived in the 13
th
 century while the Tabla is no more than about 250 years old
2
. Therefore this 
legend has no basis in fact. 
Pictorial Representation 
 
 
1
 “The learning the Tabla” by David Courtney 
2
 According to the evidences 
 
2 
 
 
 
 Some suggest that Tabla was invented by a disgruntled (or in some stories clumsy) 
musician who broke his pakhawaj (a barrel shaped drum) in two. It is often said that 
afterwards he plays the two pieces and exclaims to his delight ―Tabhi Bola!‖(A Hindi word 
meaning It still plays!) Thus the instrument and the term Tabla are invented. (Do you really 
think that this story is plausible? -- Yea, right.) 
 Here is what we know for sure. The word ―Tabla‖ is Arabic word for ―drum‖. Although 
the Arabic word is generic, the Tabla in India is a very specific instrument. In the process of 
tracing the origins of Tabla, we really have to look at the evolution of three separate things. 
We need to look at the evolution of the wooden drum, the metal drum, and the music which is 
played. In the absence of any clearly recorded history we are forced to look to iconography in 
order to trace the origins of Tabla. Looking at paintings and sculptures and checking the dates 
is a good way to get an idea of how the Tabla developed. The wooden drum appears to have 
been derived from the pakhawaj or mridangam. Pakhawaj is an ancient instrument. It is a 
particular for of a class of instruments called mridangam. There instruments consist of a 
barrel shaped body with heads on both sides. They are laced with rawhide. The right hand 
side is very similar to the Tabla, however the left hand side is different. Where the left-hand 
drum of the Tabla has a permanent black spot, the left side of the pakhawaj is plain. It 
requires a ttemporary application of fluor and water to give a deep resonant sound. After the 
drum has been played the flour/water mixture must be removed before the drum is put away
3
. 
 
3
 Most of the Pakhawaj players give the flour to cow So that they receive blessings from her. 
 
3 
 
 The pakhawaj was a popular drum in northern India for many centuries. It is only in 
the 20
th
 century that it has fallen out of common use. The metal drum of the Tabla seems to 
have developed differently. The construction of the metal drum, known as ―Bayan‖, is very 
different from the pakhawaj. This indicates that is has a different origin. The construction is 
very much like the kettle-drums which are found throughout the Middle-East. The most 
common kettle drum in India today is known as the nagada or nagara. Kettle drums appear 
to have been brought into India by the Muslims several hundred years ago. These drums may 
be found in different sizes and shapes. They may be played singly, but normally in pairs. Old 
paintings even show three of more being played at a time. There are pictures from the 16
th
 
century that suggest to us how the Tabla may have developed. It appears that pairs of upright 
mridang
4
 were commonly played. At the same time musicians were playing pairs of nagada. 
At some point someone decided to take one of the upright pakhawaj and one of the kettle 
drums and play them together. This is really no different from the way that modern 
percussionists will grab cowbells, cymbals or any of the other percussive instruments and add 
them to their set. Now this brings up the next question; where did the music come from? 
Again we will never know for sure, but it seems that influences came from many sources. 
The largest contribution appears to be from the pakhawaj. Yet modern performances also 
show the influence of the nagada, dholak (a folk drum) and other instruments. For hundreds 
of years pakhawaj and Tabla could both be heard. Tabla was used for women entertainers, 
known as ―Tawaif‖. These functions were usually in smaller chambers where day-to-day 
activities occurred. On the other hand, the pakhawaj was the instrument used to accompany 
the men in the royal courts. The curious effect of having the pakhawaj and Tabla used in 
different situations was profound. The pakhawaj developed a technique that was very loud 
and powerful while the Tabla developed a technique that was delicate. The pakhawaj was 
loud because there were no sound systems in those days; it was a major challenge to hear in 
the large halls. Conversely the Tabla was delicate because that was what was appropriate for 
the accompaniment of women in the smaller chambers. It is the speed and delicacy of the 
Tabla which remains its most alluring feature even today. In the 18
th
 and 19
th
 centuries 
numerous stylistic schools known as ―Gharana‖ developed. The word Gharana literally 
means ‗house’, and implies the ―house of the guru‖. There are six Gharana‟s and they take 
their names from the geographical locations where they developed. These Gharana‟s are 
 
 
 
 
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known as Dilli (Delhi) Gharana, Ajrada Gharana, Punjab Gharana, Benares Gharana, 
Farukhabad Gharana, and Lucknow Gharana. Each Gharana had a different approach to 
technique, and compositional form. The later part of the 19
th
 century and early part of the 20
th
 
century was a very hard time for the Tabla and Tabla players. Many of the music patrons lost 
their wealth as the political situation in India changed. 
 The British banned the institution of the tawaifs. The term ―tabalji‖ (one who plays 
the Tabla) became a derogatory term evoking connotations of a drunkard or a pimp. 
Fortunately things began to look up during the independence movement. There was a 
reawakening in interest in traditional Indian culture. Performance opportunities increased, 
and other sources of patronage were established. Today the Tabla and its artists are held in 
higher prestige than they have ever been in the past. 
 
 
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Basic Ten Syllables („bol‟s‟) of Tabla
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 There are mostly ten main sound syllables for Tabla. All the Tabla compositions that 
we hear today are combination of these 10 syllables. 
The following six syllables are for right hand: 
1. Ta or Na 
2. Ti or Tin 
 3. Din or Thun 
4. Tun or Tu 
5. Te or Tay 
6. Ray or Re 
 
The following two are for left hand: 
1. Ghay or Gay 
2. Kay or Ki or Kat or Kaa 
The following two are produced by both hands: 
1. Dha 
2. Dhin 
 These are alphabets of Tabla language. One should produce these very Carefully on 
Tabla & Dagga to get the correct musical sounds. There are 2 kinds of Tabla syllables
6
 . They 
are open syllables and closed syllables. Open ‗bol‘s‘ are those which have a resonance after 
playing whereas close ‗bol‘s‘ are those which have no resonance. It is the combination of 
open and close ‗bol‘s‘ that we get different types of sounds. 
 
 
5
 Do watch https://www.youtube.com/watch?v=BG-rSd7VZr0. For live demo of basic tensyllables 
 
6
 Here after reffered as a term ‘Bol’ 
https://www.youtube.com/watch?v=BG-rSd7VZr0
 
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2. Gharana’s of Tabla 
 Gharana is a style of playing. Although the meaning of Gharana seems to fluctuate 
between ‗playing style‘ and family,‟Baj‟’ is the term used by the players to indicate the 
Gharana. A member of Gharana is either born or initiated into tradition, his father/teacher 
represents. The other means of access is marriage. The initiation into a Guru-sishya tradition 
is called ‗Ganda-Bandhan’, a public ritual attended by the senior members of the musician‘s 
community of the town. In presence of the entire town teacher ties a sacred thread around the 
student‘s wrist and thus gives him a Tabla lesson. Guru Sishya tradition is the oldest one but 
presently it is still remaining only in this music field. 
 The Gharana‟s were formerly the important centers of learning. The traditions were 
passed on by the descendants of original founders and their disciples. The most in depth 
teaching was to be given to the eldest son in the absence of which the traditions were passed 
on to disciples who exhibited special talent as this helped a Gharana to strengthen and 
expand its reputation. 
 Today as a result of increased communications and recordings, these traditions are no 
longer isolated and restricted to particular family groups. There is increase in the number of 
the performers who perform the repertoires of various Gharana‟s and imitate the playing 
styles of other performers. 
 Even so, it is necessary to be identified with a particular tradition, so that it is still difficult 
for aspiring artists not affiliated with a Gharana to pursue a professional career. Musicians 
who do not belong to one strong and well established Gharana‟s are often open to harsh 
judgments. Musicians who are a member of a certain Gharana may often change their style 
to enrich it thus expanding it after hearing other musicians. 
In former times the knowledge of Gharana‟s was jealously guarded so as to restrict 
the knowledge to a certain family group. Even a father is known to have refrained from 
teaching his own son because of the fear that his son would pass this information to others 
who are outside the Gharana. This attitude was common in the past and still persists on some 
circles. This has led to the loss of the great deal of repertoire which was never documented or 
shared between other Gharana members. 
 
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 There are two styles of playing Khula „Baj‟ and Band „Baj‟. Khula as the name suggests 
means open. This „Baj‟ represents the style that is usually used to play with dance. The 
Gharana's that represent this type of „Baj‟ are Banaras, Lucknow etc. The „bol‟s‟ are played 
more open and the full resonance is obtained. The fingering style of such „Baj‟ is such that 
the sound vibrates to its full extent. 
Pakhawaj style is more often played and the „bol‟s‟ resemble the „bol‟s‟ of pakhawaj. Band 
„Baj‟ is the style of playing that is soft and delicate as the name suggests band means close. 
The resonance is usually controlled in order to bring the kind of delicacy. 
 
 Delhi and Ajrada are the Band (close) „Baj‟ Gharana‘s. This style of playing is 
useful for accompaniment to vocal and instrumental music. The beauty of sound is given 
more importance and the fingering technique is narrower so as to bring the required sound. 
The various reasons that this „Baj‟ came into existence is the surrounding circumstances. As 
the pakhawaj was open instrument it was mostly used to accompany Dhrupad. There was a 
necessity to invent a „Baj‟ that was very melodic that could support the delicacy of Indian 
classical music especially vocal music. Thus the concept of band baaz came into existence 
and there was the conversion of pakhawaj „bol‟s‟ into the Tabla „bol‟s‟. 
 
 
2.1 Evolution of Gharana’s 
 
Gharana is a dynamic entity. It keeps on evolving itself as we see it being evolved 
into such a big dictionary of knowledge of the greatest compositions today. This leads to a 
question as to whether the gharana was formed before the invention of compositions or after 
the bunch of compositions that were popularized fell into a certain gharana. This is a simple 
question that has not been thought upon and hence there is a mistaken history about the 
people who guarded a gharana like a guard leaving inside no other member other than its 
own gharana members. The number of compositions and the Tabla players keep on growing 
day by day. The compositions were scattered all over the regions to which the Tabla players 
belong to. There was a need for the categorization of these compositions according to the 
nature of the syllables. This gave rise to one of the prominent gharanas‘s the Delhi gharana. 
The Tabla players then grew in numbers and migrated to various places and changed their 
styles according to the circumstances of that region. After more of such events happened 
tabla players started to declare themselves from a region to which they belong to. Thus we 
 
8 
 
have the names of the gharana‘s that we have today. Earlier there were only two gharana‘s 
Delhi and Farukhabad or poorab gharana.
7
 These gharana‘s were further developed into 
other gharana‘s like ajrada gharana, Benares gharana, Punjab gharana, Lucknow gharana‘s 
respectively. Some believe that the Punjab gharana is one the oldest traditions. However 
there are still various misconceptions regarding gharana‘s that might get solved in years to 
come. The gharana‗s that we have today are all very versatile. Each gharana looks to be a 
complete set of compositions and have their flavor of their own. However it is the Delhi 
gharana that has to be learnt by every Tabla player before making a mastery in any of the 
gharana‘s. The nature of compositions and the imaginative capacities of the artists give rise 
to numerous compositions and hence the dictionary of gharana keeps on evolving. Thus we 
do not have a gharana that is fixed and thus there is always a scope of compositions being 
poured into the gharana by various composers. 
Thus any gharana is a style that can be adopted by any Tabla student according to his 
own liking and thus today we have tabla artists playing compositions from all the other 
gharana‘s. The jealously guarded information is now open and available to the Tabla players 
with some effort. Thus gharana is ever evolving and we may have further newer possibilities 
in the years to come. 
 
7
 According to the interview of ustad ahmedjantirakwa archives recordings. 
 
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3. Delhi Gharana 
 The Delhi Gharana is the oldest of all Tabla Gharanas, and is also the first to 
establish improvisation rules. It was founded in North-East India, and is easily one of the 
most, if not the most, common Gharana (or Baj
8
) used today. 
 Delhi Gharana was founded in the early 18th century by several families near the 
Delhi-Lucknow-Bareilly strip. However the main founder is said to be Ustad Sidhar Khan 
Dhadi. The name ‗Dhadi’ refers to a caste of bards from the region of Punjab and Rajasthan 
who sang religious songs at shrines
9
, heroic ballads and love songs, accompanying 
themselves with a sarangi fiddle and a drum called Dhad
10
, like Dharhis before them. These 
early drummers migrated to larger and richer centers of patronage, the ultimate source of 
which was the Mughal capital, Delhi
11
. 
 Sidhar khan Dhadi had three sons. These were Ghasit Khan, a second son whose 
name is not known, and Bugra khan, among whose descendants were the outstanding 
masters Sitab Khan, Nazir Ali khan and Natthu Khan also Nikhil ghosh‘s cotemporary, 
the late Ustad Inam Ali Khan
12
 counted Sidhar Khan among his illustrious forefathers
13
. 
 
 
 
8
 Approach of Playing 
9
 “The sufi Dhadis usually performed atthe mazaars of saints and at melas and festivals while the sikh Dhadis 
sang mainly at gurudwaras” - pande, p.25 
10
 The Dhad played in Punjab is a single hourglass drum made of wood.the heads are covered with goat skin 
held tight with cords.It is played with the fingers on one whilst the other hand alters the pitch by applying 
preassure on the cords. 
11
 Kippen 2000 para 11 
12
 b.1924 
13
 Vintage Tabla Repertory-Gert Mathias Wegner 2004, p 3 
http://en.wikipedia.org/wiki/Tabla
http://en.wikipedia.org/wiki/Gharana
 
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3.1 Prominent Exponents and Tradition 
 The performing style (Baj) of Delhi Gharana is also called the ’Chat ka baaz‘or 
‘bandh Baj
14
‘. Ustad Sidhar Khan , being a pakhawaj player, was responsible for 
incorporating pakhawaj ‗bol‘s‘ to this style. However, the Tabla, not Pakhawaj, is now the 
main instrument of the Delhi Gharana. 
 During the 20th century, the most critical Tabla player of the Delhi Gharana was 
Gamay Khan (1883-1958). His son Inam Ali Khan (1924-90) was an influential Tabla 
player of the later portion of the 20th century. His son, Ghulam Haider Khan is presently the 
ambassador of the Gharana. Natthu Khan (1875-1940) is from another stream of the 
Gharana and was one of the foremost Tabla players of his time. He was also the father-in-law 
of Gamay Khan. Latif Ahmed Khan (1941-90) one of the most legendary Tabla players of 
20th century was a follower of both Gamay Khan and Inam Ali Khan. Shafaat Ahmed Khan 
the popular Tabla accompanist of Ustad Amjad Ali Khan was the son and follower of 
Chamma Khan from another stream of the Gharana. Pandit Chatur Lal was the follower of 
Haji Mohammad Khan. From the most outstanding initial advocates was Chhote Kale Khan 
who trained Gamay Khan, the leader of Ustad Inam Ali Khan, a predecessor of the legendary 
Ustad Latif Ahmed Khan who passed away in the early 1980s. 
 A concurrent line is that of Chamma Khan and his popular son Shafaat Ahmed Khan 
(illustrious accompanist of sarodiya Amjad Ali Khan). Pandit Chatur Lal trained under Haji 
Mohammad Khan and Hafiz Miyan of Udaipur and soon after received ‗further tuition‘ from 
Pandit Ravi Shankar. His Baj is taught by his nephew Shiv Narayan. 
The fingering aspect of Delhi Gharana is discussed in detail here with the 
diagrammatic illustrations. The shahi Boles usually start with the middle finger and end with 
third finger or the first finger. The start of each shahi bol is defined by the perfect and precise 
touch of the middle finger.The fingering style has a succession effect, creating a circular 
straight angle that facilitates the straight fingering rather than angular fingering in 
Farukhabad or poorab Gharana. Thus the resonant and open sounds are prohibited & instead 
a more precise ssounds are produced. 
 
14
 Style of playing which prohibits the use of loud resonant strokes. 
http://en.wikipedia.org/wiki/Pakhvaj
http://en.wikipedia.org/wiki/Bhol
 
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3.2 Playing style of Delhi Gharana: 
 The Delhi Gharana has lucidity of Sonics that is a product of the first function of the 
Tabla as an axially to vocal and instrumental music. This sharpness is attained by performing 
on the chati
15
 or Kinar, and has given way to the ‗Baj‘ being called the chati-ka-Baj
16
. This 
‗Baj‘ is also called as Komal
17
 ‗Baj‘. The beats are experienced is the barabar
18
 (basic) of 
the ad (portions and multiples of one-and-a half), while the objects are primarily Kayada-
Rela, Peshkar, and the Mohra/ Mukhda. The Delhi Tabla style is famous for its vast and rich 
repertoire of Kayada’s
19
. Overall, the sound quality tends to focus on avoiding the overuse of 
loud, resonant bayan (left-hand bass drum) strokes in favor of lighter, more precise strokes. 
‗bol‘s‘ such as Dha, Tete (Tite), Tere kete and Tina kina are prominent. Pt kishan 
Maharaj’s
20
 once quoted that ―The Tabla was first introduced into Delhi Gharana for 
accompaniment light music both vocal and instrumental and it is most suitable for 
accompaniment as it has the clearest sounds‖
21
.Thus the nature of Delhi Gharana is melodic. 
The tone has a maximum ambience that blends with vocal and instrumental music. The 
compositions are usually in Barabar
22
 Laya and are simple as well as complex depending on 
the type of compositions. An artist of Delhi Gharana usually develops a strong wrist 
fingering technique as wrist and the tip of the fingers are used to produce more clear and 
precise sounds. 
The compositions and developments tend to blend each other usually producing the 
rhyming effect. The most commonly used Delhi composition is the Kayada‘s that form the 
hallmark of this Gharana. Kayada‘s form the basic compositions of this Gharana apart from 
the Peshkars, Relas, Tukdas, chakradhars etc. The development of the compositions take 
place in a uniform manner stabilizing and establishing the compositions and the Laya in equal 
uniformity. 
The ‗Kinar‟ is used frequently in the compositions it is because of that the this baaz is 
also called as ‗Kinar-ka-baaz’ 
 
15
 Outer circle of Tabla 
16
 The style that gives emphasis on the chat of Tabla for producing clear and sharp sounds. 
17
 soft 
18
 The proportions of the Bol’s are equal and there is uniformity in the compositions. 
19
 A Kayada usually means the rule. It also means practice in Urdu. The compositions with a variable theme 
that are packed in a rhythmic cycle indicating the Tali, Khali and also the nature of Taal. 
20
 A Tabla maestro from Banaras Gharana 
21
 Gottlieb p.50 
22
 1:1 
 
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 According to the characteristics of Delhi Gharana the ‗bol‘s‘ are specific and poetic. 
Two finger ‗bol‘s‘ are prominent ex Dha-ti-ta, Dha-ti-na etc. The compositions are sur 
based. The compositions have a simplicity and beauty in them that are heard like a rhyme 
when played. It is this nature of Delhi Gharana that the development of the compositions at 
length is possible. The simplicity of the Gharana makes it prominent. This forms the basis for 
the Gharana and thus all the artists of Tabla have the knowledge of Delhi Gharana apart from 
their personal Gharana‘s. 
 The ‗bol‘s‘ usually used are Dhina Tita Dhage Tina kina etc. the ‗bol‘s‘ are precise 
and form a complete composition. Kayada is equipped with most of these ‗bol‘s‘ and thus 
form the main aspect of the compositions in Delhi Gharana. The nature of ‗bol‘s‘ is 
‗Soundarya Pradhan’
23
. There is uniformity in the nature of ‗bol‘s‘ used in this Gharana. It 
is this uniformity that the Gharana is equipped with beautiful compositions of Kayada‘s. The 
‗bol‘s‘ are mainly sur based and the work on shahi is comparatively less in Delhi Gharana. 
 Sometimes compositions of other Gharana‘s are also played in Delhi style thus 
changing the characteristics of the composition for a change. This change is obtained by the 
precise tonal effect and slight change of fingering in accordance with the composition and 
also keeping in mind the characteristics of Delhi Gharana. 
 Thus sometimes a Rela of Farukhabad Gharana is also played in Delhi style 
depending upon the mastery of a performer. The preciseness is the main aspect of Gharana 
that is kept in mind while performing. This switching of compositions happens rarely in 
Delhi Gharana and thus shows the mastery of a performer related to Delhi Gharana. This 
switching is possible in Delhi Gharana due to its unique fingering technique. Changing the 
fingering technique for an additional effect is not encouraged in Gharana. This is to maintain 
the purity of Gharana and its characteristics that form the hallmark of this Gharana. It is 
because of this uniqueness that a performer of Delhi Gharana is easily recognized among a 
group of performers as the characteristics of Gharana are easily recognizable.23
 Melodic and indicate the nature of beauty 
 
13 
 
 The preciseness of Delhi Gharana has made it watchful not only to the listeners but a 
performer also has to be focused in order to play most compositions during development as 
there are specific routes through which development happens. Sticking to a particular style is 
important in Delhi Gharana. The main aspect of the melody is retained in the developments 
of the compositions also in ending a composition with a Tihai. There exists uniformity in the 
Bol patterns and also the compositions. Thus the nature of the Gharana is maintained 
throughout a solo performance. This rare uniformity is one of the striking aspect of the 
Gharana. 
 
3.2.1 Compositions of Delhi Gharana 
The various compositions in Tabla include the melodious peshkar, Kayada‘s, Relas, 
Gat‘s, Chakradhars etc. Most of the compositions are stand alone as well as most of them are 
variant in nature. It is the variant compositions like peshkar, Kayada, Rela. that give life to 
Tabla apart from the non-variant compositions like Chakradhars. The variant compositions 
give a new way of approach to the artist as the same Kayada peshkar played by two people 
differ as the variations differ according to the nature of the artist and also due to change of the 
Gharana‘s taught to them. This nature of variations that adds the new things to the traditions 
has kept these compositions so interesting. One such melodic composition is peshkar. 
 
 
14 
 
3.3 Peshkar 
Peshkar is a type of composition that is played at the start of every solo recital. The 
name itself indicates ‗Pesh‘
24
 and ‗Kar‘. Peshkar means presenting a set of ‗bol‘s‘ that are 
played in a slow Tempo. The introductory phrases having high sustenance nature are part of 
the peshkar as these ‗bol‘s‘ help to establish the basic Tempo as well as the nada of the 
Tabla. The structure of the peshkar is based on the sur that comes from the various open 
‗bol‘s‘ of the Tabla such as Dhin, Dha etc. and also end with a sur such as Tina or Dhina etc. 
The face of the peshkar is specifically designed so as to maintain the simplicity. This 
helps an artist to further develop various Plata‘s in terms of phrases, Layakari and 
introducing various gap‘s and also beautify the peshkar in order to establish the total nature 
of Tabla with all its imaginative concepts. The imagination of an artist usually fills the 
peshkar and thus makes it more beautiful. The introductory phrases used in peshkar are the 
phrases that can be used by the artists in accompaniment to vocal and instrumental music. 
The imagination of an artist is encouraged by these phrases. The phrases of different 
sizes/matras are used to construct other compositions. Thus composing power of an artist is 
enhanced. It is the depth of the peshkar that has given rise to the aesthetic sense of an artist, 
thus making him a good accompanist as well as an solo player. 
3.3.1 Nature of peshkar 
Among all the compositions, the Peshkar holds its own unique nature. A peshkar 
composition can easily be identified in a bunch of compositions like Kayada, Rela etc. The 
simplicity of one is to one „bol‟s‟ is usually seen in peshkar thus making it recognizable 
among all its other contemporaries. Nature of peshkar resembles the “shan‟t 
rasa
25
”.Imagination is one of the important aspects of Tabla as it adds the required color to 
the compositions. Peshkar is one such concept as there is maximum scope for giving the new 
dimensions to the imaginative talent of an artist. It is necessary to stay in tune with Laya as 
the „bol‟s‟ are at a major distance and get connected through nada .The sustenance of the 
nada is what adds to the melody of the peshkar. 
 
24
 To present 
25
 A feeling of peace. 
 
15 
 
These „bol‟s‟ syllables of the peshkar are precise, clear and usually fat in nature so as 
to get the sustenance and also to get the division of two matras. The division of the matra‟s is 
felt through the sustenance of the nada that comes through the syllables. 
Ex: Dhi- -kda Dhin- Dha- 
 -- Dha- Dhin- Dha- 
 Dha- Ti- Dha- Ti- 
 Dha- Dha- Ti- Na- 
 The link between the matra‘s connects through a nada or a gap. The sur elongates to 
connect itself to other. This linking creates a soothing effect which is pleasant to hear. For the 
establishment of a uniform Laya this connection has to be handled very skillfully. This 
skillful approach makes environment of tabla solo established. This also introduces the Tabla 
‗bol‘s‘ to listeners. In spite of being slow in ttempo the effect of peshkar is continuous. 
Peshkar presentation is what makes the depth of knowledge more precise. The mastery of an 
artist depends upon how well he approaches peshkar. As peshkar develops further in the basic 
stage, the development resembles Kayada. Further the imagination is what launches itself 
through the mind of performer. Thus an artist takes the peshkar to a new height introducing 
various combination of Palta‟s. This freeness is absent in a Kayada. The open-mindedness of 
the artist makes the peshkar sound different to the listeners. There can be no definite structure 
to the peshkar according to the most of the artist. This is because there can be numerous 
rhymes of the phrases. 
The rhythmic patterns in the peshkar play an important role as they beautify the 
peshkar. In-spite of controversy from the various noted artists, this style of rhythmically 
varied variations usually finds itself a place in the mind of the listeners. The style of 
development usually consists of playing Tishra, Chatushra, Mishra Laya by extracting the 
„bol‟s‟ from the mukh of the peshkar, but playing them with decreased number of gaps. Most 
of the maestros however do not consider playing the various phrases in peshkar as they tend 
to take the peshkar away from its Mukh. 
Once when asked to Ustad Amir Husain Khan about the nature of peshkar answered thus 
that : 
 
16 
 
 ―The peshkar is an introductory composition where in most of the phrases are played 
during the development in order to either check the range of the hand or to execute a warm-
up. Thus he considers playing most of the phrases. However there are no recordings of his 
where we can have a reference. This information was shared to me by my Pt.Ravindra 
Yavagal". 
 
 The peshkar of Delhi Gharana has a very plain development and thus has a similar 
development as of Kayada. Most of the „bol‟s‟ are Kinar based and thus the Variations are 
connected through the melodic sur based „bol‟s‟ contained in the Mukh of the peshkar. This 
concept is not emphasized to a great extent in Delhi Gharana, however the expansion and 
beauty of the peshkar entirely depends upon the imaginative talent of an artist. Pt. Suresh 
Talwalkar of Delhi Gharana has set new standards by his imaginative and channelized 
development such that Variations tend to be the extract of the Mukh of the peshkar. It is this 
method of channelized imagination that gives rise to beautifying peshkar Variations. Peshkar 
thus is based on the approach of artist. There is usually no hard and fast rule that the peshkar 
should be developed in a specific way ,but most of the maestros have restrictions over their 
students . Pt. Suraj purandare a maestro of Delhi Gharana has an opinion that peshkar should 
contain the „bol‟s‟ of its Mukh and thus denies the introduction of various „bol‟s‟ or phrases. 
However he has developed a unique style of developing the peshkar through Layakari 
patterns like Khanda jati, Chatushra jati etc. The Variations contain the Mukh of the peshkar 
and thus there is channelized flow of Variations. This kind of development thus is recognized 
by the maestros of great caliber. In spite of various views about the peshkar any kind of 
patterns would suit but the most appealingpatterns are those that are culturally, rhythmically 
vibrant, full of rhymes, variations related to Mukh, Layakari and enriched with introduction 
of linking phrases that fill the emptiness. 
 The presentation of a peshkar fused with simple „bol‟s‟ is unique and resembles an 
‗Alap
26
‘ in a raag. The „bol‟s‟ in the peshkar are uniform and represent a slow and rhythmic 
and melodic development of its Variations. 
 
 
 
26
 A slow rhythmless elaboration upon the rag used by vocalists and instrumentalists. 
 
 
17 
 
3.3.2 Peshkar of Delhi Gharana (Face) 
X X 
Dha - - Kda Dha - Ti - Dha - Tire Kita Dha - 
o X 
Dhi - Na - Dha - Ti - Dha - Dha - Ti - Na - 
x X 
Ta - - Kda Ta - Ti - Ta - Tire Kita Dha - 
o X 
Dhi - Na - Dha - Ti - Dha - Dha - Dhi - Na - 
 
This composition is a Delhi Gharana peshkar in Teental. Here are some of the 
Variations explained in order to understand the development patterns of Delhi Gharana. 
Dohra: Dohra is usually played in all the Gharana‘s where the first part of composition is 
played twice and the Mukh (Face) of a Kayada is played to complete the Variation. 
x x 
Dha - - Kda Dha - Ti - Dha - Tire Kita Dha - 
o x 
Dha - - kda Dha - Ti - Dha - Tira Kita Dha - 
x x 
Dhi - Na - Dha - Ti - Dha - Dha - Ti - Na - 
o x 
Dhi - Na - Dha - Ti - Dha - Dha - Ti - Na - 
x x 
Ta - - kda Ta - Ti - Ta - Tira Kita ta - 
o x 
Ta - - kda Ta - Ti - Ta - Tira Kita Ta s 
x x 
 
18 
 
Dha s S kda Dha S Ti S Dha S Tira Kita Dha S 
o x 
Dhi S Na S Dha S Ti S Dha S Dha s Dhi s Na S 
 
 
Variation 2 :( 3.5*2)+(4.5*2) 
x X 
Dhakda Dha-ti- Dha-tira KitaDha -Kdadha- ti-dha- tirakita Dha-dhi- 
o X 
Na-Dha Ti-Dha- Dha-ti- Na-Dha- Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
x X 
Takda Ta-ti- Ta-tira Kitata -Kdata- Ti-ta- Tirakita Dha-dhi- 
o X 
Na-Dha Ti-Dha- Dha-ti- Na-Dha- Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
 
 As seen in variation 2 above, this type of variation is rarely heard now days. Similarly 
playing a part twice can also form a Dohra. Playing a part of peshkar thrice four times also 
can be counted as a Dohra. This concept is not explained in any of the books. Dohra being an 
Urdu word means to repeat. Keeping this as the base, this rare concept is applied here which 
is rarely played by most of the players. We have Variation 3 repeating the phrases three times 
and hence we move towards 4
th
 Variation. The concept in the Variations 3 and 4 also reflect 
the concept of Tripalli and Chaupalli where a Palla
27
 is repeated three times and four times 
respectively. The use of this concept in a development of a peshkar or a Kayada is rare and 
this concept is one of the new inventions that can be used colorfully for the development of 
compositions in any Taal. Repeating the phrases in this manner not only form the part of 
development, but the phrase of the peshkar are established to the Laya
28
 and thus account for 
 
27
 A phrase that is complete in its own aspect 
28
 The uniformity of time that form the basis for a Taal 
 
19 
 
a stabilized development that creates a complete flow. Thus an artist never searches for the 
phrases that are to be played next and thus these variations are complete in its own. 
 The developments style of peshkar is just like a Kayada and the „bol‟s‟ contain only 
those bol‘s that are there in the Mukh
29
 of peshkar. Although to bring a sense of enthusiasm 
now a day‘s most of the payers mix a Kayada in peshkar to beautify the concert. This is a 
subject of criticism as the Khalifas and most of the old maestros used to maintain a clean 
style of development without using Kayada‘s. 
 
Variation 4 (repeating a phrase 4 times) 
 
 Ustad Ahmedjan Tirakwa used to play some phrases in order to develop the peshkar 
under the concept ‗Farshbandi‟. Most of the styles of development alter the characteristics of 
Gharana so that they are omitted in certain Gharana‘s. Development of peshkar consists of 
many methods on the basis of which they are developed. 
 Development on the basis of Laya 
 Development on the basis of phrases 
 Development on the basis of tone. 
The badath (development) of the peshkar is thus illustrated here on this basis so that 
maximum possible combinations of phrases are derived so as to feel the melody of peshkar. 
 
29
 The starting face of the peshkar 
x x 
Dhakda Dha-ti- Dhakda Dha-ti- Dha-ti-ra KitaDha tirakita Dhadhi 
o x 
naDha Dhi-na- Dha-ti- DhaDha Dhi-na- Dha-ti- DhaDha tina 
x x 
Takda Tati Tatakda Tati Tatira Kitata Tirakita Dhadhi 
o x 
naDha Dhi-na- Dha-ti- DhaDha tina Dha-ti- DhaDha Dhi-na- 
 
20 
 
3.3.3 Development of peshkar on the basis of the phrases 
x x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha-ti-ra KitaDha Dhi - Na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti DhaDha Ti - na 
x x 
Takda Tati Tatira Kitata Ti - na Tatira Kitata Ti - Na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - Na Dha - ti DhaDha dhi - na 
 
 
Variation 2 
x x 
Dhakda Dha-ti- Dha-ti-ra KitaDha - tira KitaDha - kdaDha Dhi - na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti DhaDha ti - na 
x x 
Takda Tati Tatira Kitata - tira Kitata - kdata Ti - na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi-na Dha-ti DhaDha dhi-na 
 
21 
 
 
Variation 3(introducing the pauses) 
x x 
Dhakda Dha-ti-ra Kitatira KitaDha -Kda -Dha -KdaDha Dhi-na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti DhaDha ti - na 
x x 
Takda Tatira Kitatira Kitata -Kda -Ta -Kdata ti-na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti DhaDha dhi - na 
 
Variation 4 (shifting the gaps between the matra‘s) 
 This type of Palta‟s are usually called the runtime variations meaning that the shifting 
of a small gap is done on the stage while performance, keeping in mind the nature of peshkar 
and the time sense of a Taal. These Variations depend upon the creative instinct of artists 
based upon which there can be numerous Variations. Here we discuss some of the Variations 
. 
x x 
Dha-ti-ra KitaDha Dhi-na- -dhi Natira KitaDha -KdaDha Dhi-na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti DhaDha ti - na 
x x 
Tatira Kitata Tina -ti Natira Kitata -Kdata ti-na 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti DhaDha dhi - na 
 
22 
 
 
Changing a phrase in the Mukh
30
 of peshkar…. 
Variation 6 
x x 
Dha-tira KitaDha- Dha-tira Kitadhi- Na-tira KitaDha- -KdaDha- Dhi-na- 
o x 
Dha--kda Dha-ti- Dha-tira KitaDha- Dhi – na- Dha – ti- Dha-Dha- ti – na- 
x x 
Ta-tira Kitata- Ta-tira Kitati- Na-tira Kitata- -Kdata- ti-na- 
o x 
Dha--kda Dha-ti- Dha-tira KitaDha- Dhi – na- Dha – ti- Dha-Dha- dhi – na- 
 
 Further in this way, the development is continued where we have the Variations in the 
form of Badhat
31
. 
Variation 7 
x x 
Dha-tira KitaDhati TakitaDha -KdaDha- Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti Dha-Dha- ti - na 
x x 
Ta-tira Kitataati Takitata -Kdata- ti-na- tati tata Ti-na- 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti Dha-Dha- dhi - na 
 
30
 Face 
31
 To develop according to the Laya 
 
23 
 
Variation 8 
x x 
Dha-tira Kitatita KitaDha- -KdaDha- Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti Dha-Dha- ti - na 
x x 
Ta-tira Kitatita Kitata- -Kdata- Ti-na- ta-ti - ta-ta- Ti-na- 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti Dha-Dha- dhi-na 
 
Variation 9 
x xDha- 
titaki 
Ta tiraki 
TaDha-
Kda 
Dha-Dha- Dhi-na- Dha-ti- Dha-Dha- 
Ti- 
na- 
o x 
Dhakda Dhati Dhatira KitaDha Dhi - na Dha - ti DhaDha 
ti - 
na- 
x x 
Ta-titaki Ta-tiraki Tata-kda Ta-ta- Ti-na- Ta-ti- Ta-ta- 
Ti- 
na- 
o x 
Dha--kda Dha-ti- Dha-tira KitaDha- Dhi – na- Dha – ti- Dha-Dha- 
dhi – 
na- 
 
24 
 
Further the Laya based development starts that lead to very enthusiastic creations that 
are developed entirely based on rhythmic calculations like Tishra
32
 Chatushra
33
 Khanda
34
 
Mishra
35
 etc. This kind of development was not mostly done by the artists of traditional style 
but the phrases that are ordered in such a style that they suit the nature of Delhi Gharana. 
The phrases are of the same „bol‟s‟ that are used in the Mukh of the peshkar. 
Variation 10 
 
This type of introduction of phrases is called 8 in 3 where the „bol‟s‟ are played in 
Tishra jati to create a rhythmic development. The development changes the patterns to an 
interesting style from the gradual development to the fast rhythm keeping the base Laya as 
the same. This forms the unique characteristics of the Gharana. Peshkar developed in this 
style has a more effect than in other Gharana‘s. Different phrases are played in the peshkar 
of other Gharana‘s. Delhi Gharana peshkar is self-illumined and does not depend on the 
other „bol‟s‟ to add the color and the taste to the peshkar. 
 
32
 Three Bol’s in one matra 
33
 Four Bol’s in one matra 
34
 Five Bol’s in one matra 
35
 Seven Bol’s in one matra 
x x 
Dha-tira KitaDhati TakitaDha -KdaDha- Dhi-na- Dha-tiDha -Ti-Dha -Dha-tina 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti Dha-Dha- ti - na 
x x 
tatira Kitatati Takitata -Kdata- ti-na- Ta-tiTa -ti-ta -ta-tina 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha - ti Dha-Dha- dhi - na 
 
25 
 
x x 
Dha-tira KitaDhati TakitaDha -KdaDha- Dhi-na- Dha-tiDha -Ti-Dha -Dha-tina 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na 
Dha-ti Dha 
-Ti-Dha -Dha-tina 
x x 
tatira Kitatati Takitata -Kdata- ti-na- Ta-tiTa -ti-ta -ta-tina 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha-ti Dha -Ti-Dha -Dha-dhina 
 
 The same phrase of Tishra jati is played in the Khali also making a form of a groove 
in order to establish a Tishra Laya. These Palta‟s are mere creation that happens after being 
well versed with the nature of the Gharana, the peshkar and the „bol‟s‟. Most of them are 
explained here in order to explore all the hidden possibilities.The theme on which these are 
interconnected is also noteworthy or in other words the creation is given a fine texture, where 
seeing a Palta the next one can be imagined which fits in to the particular environment of the 
peshkar. The most important factor of making Palta‟s is that we should arrive at the dead 
end
36
 of the phrase. Meaning that no further Palta‟s should arise from the present phrase thus 
making a Palta complete in itself. 
Dha-tira KitaDhati TakitaDha -KdaDha- Dhi-na- Dha-tiDha -Ti-Dha -Dha-tina 
 
 For example the phrase above has come to almost dead end where further Palta‟s 
from this particular phrase seem difficult. This is how the composition is developed in Delhi 
Gharana. An approach of this kind is rare to find during a concert, as during the imagination 
of various Palta‟s of a compositions like peshkar, various factors might influence an artist 
and might divert his attention. Thus losing the chain of the Palta‟s and moving towards the 
uneven Palta‟s of different „bol‟s‟ rather than following an order. 
 
36
 This was taught to me by my guruji shri.H somashekhar from Dharwad. 
 
26 
 
 There can always be ‘N’ number of Variations of a peshkar, however the right ones 
are the ones having definite phrases and also those approaching the dead ends & further 
giving way to the other Palta‟s from the different phrases which were not repeated in the 
previous Variations. In the detailed development of the Palta‟s above we can find out that the 
Palta‟s are standalone ones and are the real ones which not only form the poetic chain but 
also come to the dead end. Further we move towards introducing various phrases in 
Chatushra jati and making a grove resembling a Kayada. 
x x 
Dha-tira KitaDhati TakitaDha -KdaDha- Dhi-na- Dhatira 
KitaDha 
DhinaDhati DhaDhatina 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha-ti 
Dha 
-Ti-Dha -Dha-tina 
x x 
tatira Kitatati Takitata -Kdata- ti-na- Tatira kitata Tinatati tatatina 
o x 
Dhakda Dha-ti- Dha-ti-ra KitaDha Dhi - na Dha-ti Dha -Ti-Dha -Dha-dhina 
 
 Most of the possibilities of the peshkar and its developments have been covered. We 
are approaching the end of peshkar chapter. Before we end this chapter there is a possibility 
of a Kayada, that resembles the phrase development in the peshkar. We have no evidence of 
this Kayada played by any of the maestro. Hence we feel that there is a possibility of a 
Kayada being linked to Peshkar in Delhi Gharana. After conversation with various maestros 
I have found mixed opinion on the insertion of a Kayada in the peshkar of Delhi Gharana. 
Most of the maestros have the view that the classicality of the ‗Barabar’ lay of the peshkar is 
lost and hence no Kayada‘s should be inserted into the peshkar. Most of the phrases that we 
have included here also do not support the theme of the peshkar of Delhi Gharana and hence 
can be avoided. In order to show the possibilities, I have tried to include as many phrases as 
possible. 
 
27 
 
 There are many routes for a composition to develop into Variations and hence there 
are many routes through which a peshkar can be developed have been stated. The Tihai of the 
peshkar depends upon the route through which the peshkar is developed and hence has not 
been given here. There can be on standardized Tihai pattern for the peshkar and hence has not 
been discussed here. 
 
 
 
28 
 
3.3.4 Conclusion of peshkar: 
 
 Peshkar is a wonderful composition in both the Gharana‟s. 
 It is played at the start of the Tabla solo recital. The nature of Peshkar is “shanta 
rasa”. 
 Peshkar can also be played in parts in accompaniment with instruments depending on 
the situation. 
 A Peshkar is entirely based on imagination within the walls of Gharana that are wide 
enough. Sometimes other „bol‟s‟ that are not Related to the theme of Peshkar are also 
introduced in order to beautify the development of the Peshkar. 
 The tradition that we talk of reflects in the Peshkar thus making a clear statement that 
the discipline on which Peshkar was composed is carried forward in its development. 
 
29 
 
Vision of maestros 
 The view of every maestro is different even though he may be from the same 
Gharana. This view has its effect on the Peshkar and other compositions that he 
plays. Thus there is a personal beautification of the Peshkar. The Variations thus tend 
to move towards beauty rather than tradition most of the times. This concept is 
acceptable as beauty and the enjoyment of the phrases is more important in music.The 
view of “Ustad Amir Hussain khan”
37
 is such that the Peshkar is an introductory 
composition wherein we play different „bol‟s‟ so as to check the range of our hands 
and thus play further compositions accordingly.
38“Pt. Suresh Talwalkar39” has given 
a new opening to the Peshkar by his melodic patterns and new compositions thus 
making it more enjoyable rather than making it more Bol specific.“Ustad Zakir 
Hussain”
40
 has given new limits to the peshkar playing new Variations that 
concentrate on each matras, lagu‟s etc. thus making it interesting and appealing. 
Peshkar being the start of Tabla has a great compositional value and hence I feel that 
the imaginary conceptsare developed by learning a Peshkar in a right tradition. The 
Peshkar of Delhi Gharana taught by my guru Pt.Somashekharji is a wonderful format 
that further enhances the scope to develop it further into various parts. The orderly 
way of developing the composition is well said in Delhi and Farukhabad Gharana‟s 
above. The Variations reflect the nature of Delhi and Farukhabad Gharana. 
 
37
 A maestro of Delhi and Farukhabad Gharana disciple of ustad Munir Khan 
38
 Interview conducted with Pt.Ravindra yavagal 
39
 A maestro from Delhi Gharana disciple of Pt. Pandrinath nageshkar 
40
 A maestro and disciple of Ustad Alla Rakha. 
 
30 
 
3.4 Kayada 
 Kayada is one of the most important composition of Delhi Gharana‘s. Kayada forms 
the heart of Tabla as all the Gharana‘s are equipped with this form of composition. Kayada 
basically means rule in Urdu. It also means practice of a particular Bol. This meaning of 
Kayada was told to me by the legendry sitar player Ustad shahid Pervez. 
 The composition of Kayada contains some of the aspects like the body of the Kayada 
and its ending phrase. The „bol‟s‟ contained in the Kayada are used to rearrange and form the 
permutations and combinations to make the Variations. Any kind of Variation that disturbs 
the theme of the Kayada is omitted as the Variations must support the theme of the Kayada. 
Only the „bol‟s‟ contained in the Kayada are allowed to play in the Variation‘s or in other 
words the rule factor is that the compositions contain their own identity thus making a mark 
of the compositions that are sweet to hear and thus form the flow of the rhythm with different 
pattern of syllables. 
 Delhi Gharana is a store house of the Kayada ‘s. Delhi Gharana was the first to 
introduce the improvisation rules. The Kayada‘s especially are the hallmark of this Gharana. 
There are many types of Kayada are named on the basis of the nature of the Kayada‘s and 
hence there are numerous Gharana‘s. Most of them were composed by the maestros of the 
Gharana and thus till today we have many such Kayada‘s that have been composed by 
various artists of different caliber. Every artist has a sense of creativity and thus contributes 
his thoughts to the vocabulary of the Tabla. Thus we have infinite number of compositions 
being added to the Gharana‘s. Only those compositions are added to the Gharana which suit 
the basic nature of the Gharana. Most of the Delhi Gharana Kayada ‘s are popular among 
the Tabla players, however there are also extinct Kayada ‘s which are less frequently heard as 
a artists discloses such Kayada ‘s to his most reliable shishya and a hence are kept secret. 
Moreover a creative artist keeps on adding such new compositions to his personal vocabulary 
of compositions. In order to circulate such rare compositions among the artists takes a lot of 
time and hence this vocabulary of Kayada‘s is always non static. 
We discuss here in detail, all these types of the Kayada‘s and their improvisations 
1. Kayada‘s based on Kinar. 
2. Kayada‘s based on Tita, dhita and combination of both 
3. Kayada‘s based on Tirakita and kittak. 
4. Kayada‘s based on traka 
 
31 
 
 Kinar is the chat of the Tabla and hence these Kayada‘s contain various 
combinations of syllables that are played on Kinar. These Kayada‘s are called ‗Chat Ki 
Kayada ‟. These type of compositions can only be grouped into Delhi Gharana and thus 
define the Gharana very easily. No other Gharana‘s have such type of Kayada‘s. 
3.4.1 Kayada 1. (Kayada of Kinar) 
Mukh of the Kayada. 
x 
Gina-Dha GenaDhage Dhinagina GinaDhage 
x 
Dhinagina Gina-Dha GinaDhage Tinakina 
o 
Kina-ta Kenatake Tinakina GinaDhage 
x 
Dhinagina Gina-Dha GinaDhage Dhinagina 
 
The composition of the Kayada is a unique one that has been followed in most of the other 
Gharana‘s including ajrada Gharana. 
Palta1. 
x 
Gina-Dha GenaDhage Dhinagina Dhinagina 
x 
Dhinagina Gina-Dha GinaDhage tinakina 
o 
Kina-ta Kenatake Tinakina tinakina 
x 
Dhinagina Gina-Dha GinaDhage dhinagina 
„Khali‟ 
 
 
 
 
 
32 
 
Palta 2 
x 
Gina-Dha GenaDhage Gina-Dha GenaDhage 
x 
Dhinagina Gina-Dha GinaDhage tinakina 
o 
Kina-ta Kenatake Kina-ta kenatake 
x 
tinakina Gina-Dha GinaDhage dhinagina 
„Khali‟ 
Palta 3 
x 
Gina-Dha GenaDhage Dhinagina dhinagina 
x 
ginaDhage Gina-Dha GinaDhage tinakina 
o 
Kina-ta Kenatake Tinakina dhinagina 
x 
ginaDhage Gina-Dha GinaDhage dhinagina 
„Khali‟ 
Palta 4 
x 
Gina-Dha Gina-Dha GinaGina GinaDhage 
x 
dhinagina Gina-Dha GinaDhage tinakina 
o 
Kina-ta Kenatake Kinakina Kinatake 
x 
dhinagina Gina-Dha GinaDhage dhinagina 
 
33 
 
 The Kayada develops itself using the phrases that have more of the Kinar „bol‟s‟ 
from the syllables of the Kayada thus making the Kayada livelier. All these Palta‘s are 
runtime Palta‘s that appear to a Tabla player while performing on the stage and hence they 
cannot be generalized. 
TIHAI 
x 
Gina-Dha GenaDhage Dhinagina dhinagina 
x 
GinaDhage Gina-Dha GinaDhage Tinakina 
o 
Dhadhinagina Gina-Dha GinaDhage Tinakina 
x 
Dhadhinagina Gina-Dha GinaDhage tinakina 
 Note: The Tihai is a unique Tihai of the phrases that have been used from the last 
Palta that is played before the end. This is a Bedam Tihai. 
 
3.4.2 Kayada 2. Delhi Gharana. Tempo 120-240 
 A Kayada of Kinar is the life of Delhi Gharana as the Kinar „bol‟s‟ are not easy to 
play. Here is example of another unique Kayada. More importance is also given to phrases 
Dha, ga, ka etc. 
x 
DhagenaDha Gedhinagi NaDhagena Dhagedhina 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
o 
Takenata Ketinaki Natakena taketina 
x 
Dhagedhina GeginaDha GinaDhage Dhinagina 
 
 
 
 
 
34 
 
The soul of the Kayada is 
 Takita takadhina 7 
 Takatakita takadhina 9 
Takadhina 4 
Takadhina 4 
 Takadhina 4 
Takadhina 4 
 The first 8 matra have a combination of 7 and 9. 
Palta 1 
x 
DhagenaDha Gedhinagi NaDhagena Dhagedhina 
x 
DhagenaDha Gedhinagi NaDhagena Dhagedhina 
o 
DhagenaDha Gedhinagi NaDhagena Dhagedhina 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
„Khali‟ 
Palta 2. 
x 
DhagenaDha GedhinaDha GenaDhage dhinagina 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
O 
Takenata Ketinata Kenatake tinakina 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
„Khali‟ 
 
 
 
 
 
35 
 
Palta 3 
x 
DhagenaDha Gedhinaga GenaDhage dhinagina 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
o 
Takenata Ketinaka Kenatake tinakina 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
„Khali‟ 
Palta 4 
x 
DhagenaDha GedhinaDha GedhinaDha genaDhage 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
o 
Takenata Ketinaki Natakena taketina 
x 
Dhagedhina GeginaDha GinaDhage Dhinagina 
„Khali‟ 
Palta 5 
x 
DhagenaDha GedhinaDha -Dhagena Dhagedhina 
x 
Dhagedhina GeginaDha GinaDhage tinakina 
o 
Takenata Ketinata -takena taketina 
x 
Dhagedhina GeginaDha GinaDhage Dhinagina 
„Khali‟ 
 Similarly the forth coming Palta‘s have a swapping of 7:9 and 9:7 phrases and so on the 
Kayada develops. 
 
 
36 
 
Tihai 
x 
DhagenaDha Getinagi NaDhagena Dhagetina 
x 
- - - - DhagenaDha Getinagi naDhagena 
o 
Dhagetina - - DhaDha Dha- - - DhagenaDha 
x 
Getinagi NaDhagena Dhagetina - - - - 
x 
DhagenaDha Getinagi NaDhagena Dhagetina 
x 
- -DhaDha Dha- - - DhagenaDha Getinagi 
o 
NaDhagena Dhagetina - - - - DhagenaDha 
x 
Getinagi NaDhagena Dhagetina - -DhaDha 
DHA 
 This is another unique Tihai containing the Mishra and Sankirna jati‘s blended to form a 
Tihai. 
 
37 
 
3.4.3 Kayada’s based on Tita, Dhita ….. Phrases 
 Tita is an important syllable in Tabla. There are various compositions composed in all the 
Gharana‘s ofTabla. However Delhi Gharana is one of the store houses of the Kayada‘s 
based on Tita. Here is one of the basic Kayada‘s that has been practiced by most of the Tabla 
beginners. This Kayada‘s is usually not performed in the solo recital as most of the 
performers feel this to be the basic Kayada. 
Kayada 1. 
x 
Dha Dha Ti Ta 
x 
Dha Dha Ti Na 
o 
Ta Ta Ti Ta 
x 
Dha Dha Dhi Na 
 
 As we see that this Kayada has one Bol. per beat. We rarely find such a simple 
Kayada‘s containing one Bol. per beat. The simplicity of such a Kayada makes it difficult to 
perform in a public solo recital‘s. However it all depends upon a caliber of a performer who 
can bring out a great ambience in such a small Kayada. This Kayada can be compared to the 
raag ‗Bhoop‘ where in we have only 5 swaras. 
Palta 1. 
x 
Dha Dha Ti Ta 
x 
Dha Dha Ti Ta 
o 
Dha Dha Ti Ta 
x 
Dha Dha Ti na 
Khali 
 
 
 
38 
 
Palta 2 
x 
Dha Dha Ti Ta 
x 
Ti Ta Dha Dha 
o 
Ti Ta Ti Ta 
x 
Dha Dha Ti Na 
Khali 
Palta 3 
x 
Dha Dha Ti Ta 
x 
Ti Ta Ti Ta 
o 
Dha Dha Ti Ta 
x 
Dha Dha Ti Na 
 
Palta 4 (Increasing ‘Dha‟ Accent) 
x 
Dha Ti Ta Dha 
x 
Dha Ti Ta Dha 
o 
Dha Dha Ti Ta 
x 
Dha Dha Ti na 
Khali 
 
 
39 
 
Palta 5 (Decreasing ‘Dha‟ Accent) 
x 
Dha Dha Dha Ti 
x 
Ta Dha Dha Ti 
o 
Ta Dha Ti Ta 
x 
Dha Dha Ti na 
Palta 6 (Introducing the pauses) 
x 
Dha Dha Ti Ta 
x 
- Dha Ti Ta 
o 
Dha Dha Ti Ta 
x 
Dha Dha Ti na 
Palta 6 
x 
Dha Dha Ti Ta 
x 
- Dha Ti Ta 
o 
- Dha Ti Ta 
x 
Dha Dha Ti Ta 
 
 There can be many numbers of compositions of Palta‘s including the gaps. The 
prominent ones are written and discussed here. 
 
 
 
 
 
40 
 
Palta 7 (reversing the phrases in the much) 
x 
Dhi Na Ti Ta 
x 
Dha Dha Dhi Na 
o 
Dha Dha Ti Ta 
X 
Dha Dha Ti na 
Palta 8 (Composing poetically) 
x 
Dha Ti Ta Dhi 
x 
Na Dha Ti Ta 
o 
Dha Dha Ti Ta 
X 
Dha Dha Ti na 
 
 Here we find that there is a poetic arrangement in the following Palta. It is this kind 
of imagination that makes the ambience of even such a small Kayada. Similarly such kind of 
poetic Palta‘s give rise to more Palta‘s that match poetically and hence such compositions 
are a spark for the imagination. 
 
41 
 
Tihai 
x 
Dha Dha Ti Ta 
x 
Dha Dha Ti Na 
o 
Ta Ta Ti Ta 
x 
Dha Dha Dhi Na 
x 
Dha Dha Ti Na 
x 
Dha - Dha Dha 
o 
Ti Na Dha - 
x 
Dha Dha Ti Na 
x 
Dha Dha Ti Na 
x 
Dha - Dha Dha 
o 
Ti Na Dha - 
x 
Dha Dha Ti Na 
Dha 
 
42 
 
3.4.4. Kayada 4:Teental Delhi Gharana.Tempo 120 
 The Kayada that we will be discussing now is a very popular Kayada‘s usually played by 
most of the Tabla player‘s irrespective of the Gharana‘s that they belong to. However this 
Kayada has been a very poetic Kayada of Delhi Gharana. 
x 
Dhati TaDha Tita DhaDha 
x 
Tita Dhage Tina Kina 
O 
Tati Tata Tita Tata 
x 
Tita Dhage Dhina Gina 
Palta 1(Dohra) 
x 
Dhati TaDha Tita DhaDha 
x 
Dhati TaDha Tita DhaDha 
o 
Dhati TaDha Tita DhaDha 
x 
Tita Dhage Tina Gina 
 
Palta 2 
x 
Dhati TaDha Tita DhaDha 
x 
Tita DhaDha Tita Tita 
o 
Dhati TaDha Tita DhaDha 
x 
Tita Dhage Tina kina 
 
 
 
 
43 
 
Palta 3(shifting phrases) :( Tita Tita) 
 A game played by most of small children this concept involves moving a particular 
phrase within the boundary of an existing Palta to create a new one. By having such a 
technique the Laya of the Kayada, its main syllables are uniformly established so as to create 
the impression of the Kayada. 
x 
Dhati TaDha Tita DhaDha 
x 
Tita Tita DhaDha Tita 
o 
Dhati TaDha Tita DhaDha 
x 
Tita Dhage Tina kina 
 On the basis of same principle there can be more Palta‘s can be composed within the 
boundary of the theme of the Palta‘s. 
Palta 4 :( Breaking phrases): This technique involves cutting some phrases in order to bring 
out more poetics into the development of the Kayada. It creates an illusion of missing the 
theme and just when we feel that the theme is missed again we join back to the much of a 
Kayada. 
An illustration: 
x 
Dhati TaDha Tita Tita 
x 
DhaDha Tita Dhati TaDha 
o 
Dhati TaDha Tita DhaDha 
x 
Tita Dhage Tina kina 
 
 
44 
 
 ―TitaTita DhaDha TitaDhati TaDha‖ is the phrase of 3 matra‘s that creates a room for 
more poetics in the Palta. To get a new Palta now we combine both the ideas of shifting 
phrases and breaking phrases and thus we get a lot of room for the development of a Kayada . 
Only thing that is required is more concentration as combining the phrases in this unique way 
in runtime brings a climax to the listeners. The technique of making such Palta‘s is learnt 
under a Master whereas the actual application of such techniques happens on the stage in 
runtime. 
 Most of the time the music becomes static if it is parrot learnt. There are also 
instances where we hear to such poetic Palta‘s that are parrot learnt and we also have masters 
who have realized the depth of such Palta‘s. There is a difference in the quality of execution 
in the later than the former.An illustration of combination of shifting the phrases and cutting 
the phrases. 
Palta 5. 
x 
Dhati Tati TaDha Dhati 
x 
TaDha Tita DhaDha Tita 
o 
Dhati TaDha Dhati taDha 
x 
Tita Dhage Tina kina 
 
 The Bold phrases in the above Palta indicate a small shifting of syllables of the Palta 
4 cutting some phrases and thus a new creation takes place. Here we observe that the phrase 
‗Tita Tita DhaDha Tita Dhatita DhaDha Tita Dhatita Dha‘ is the game changer phrase 
bringing a climax to the Kayada. It joins into the Tihai (TitaDhage Tinakina) of the Kayada. 
The feeling of mere words that have been explained about the Palta is totally different from 
the actual ‗NADA‘ that is produced while playing the Kayada. 
 In Carnatic system of music we have ‗Laghu‘. Most of the time an mridangam played 
tries to see this ‗Laghu‘ through his eyes (musically). A high degree of concentration allows 
an artist to see through a matra and most of its ingredients. A matra is physically visible but a 
‗Laghu‘ is something which is a part of a matra. 
 
45 
 
 In order to see a matra we need eyes in order to see a ‗Laghu‘ we need the vision. 
Using such a vision in the form of Tabla syllables a ‗Master‘ tries to create more complex 
Palta‘s and thus we have an illusion of Palta‘s being more complex. All this is a simple 
method of adding to and subtracting from. 
 It is easier to write in words rather than using the same ideas and perform. It is because of 
this complexity that an artist needs more and more Sadhana
41
 in order to attain perfection. 
 
 
41
 Rigorous practice leading to realization. 
 
46 
 
3.4.5 Perfection in Music: 
 Perfection is a word used worldwide. It means an action that has no comparison and is 
complete in it. Artists all over strive very hard to get into the feeling of this word perfection. 
The process of practicing a phrase lot of times is what we call Riyaz. By making repeated 
efforts in the similar way there comes a time when an artist finds a way to lose himself and 
realizes that the ideas are flowing through him without his intentional efforts. 
 Thus Riyaz is an important phase in the life of an artist which has to be carried 
lifelong. It is this Riyaz that brings a kind of perfection to the composition that he performs. 
However there can be no perfection from the musical point. There is always a room for 
perfection in music and thus creating such dynamic Palta‘s mostly depends upon the process 
of happening in music and not creating. 
Palta 6: 
 The Palta that we are about to study now has a theme of stretchingand elongating the 
‗Mukh‘ of a Kayada. 
An illustration 
x 
Dhati TaDha Tita DhaDha 
x 
Tita Dhage Tina DhaDha 
O 
Tita Dhage Tina DhaDha 
x 
Tita Dhage Tina kina 
 
The bold phrases in the above Kayada indicate that the Palta is an extension of the Mukh of 
this Kayada. The phrases ‗Dhage Tina‘ is followed by ‗KINA‘ in the Mukh of the Kayada. 
Here we repeat the phrases ‗DhaDha tita Dhage Tina’. In the end it is just joined by ‗kina’ 
for completion. 
 Development of a Kayada depends upon various issues. These various issues discussed as 
under: 
 
47 
 
Development of a Kayada based on Palta’s: 
 This kind of development is called as Badath that is based on the concept of vocal music. 
This kind of development is usually based on either adding phrases or subtracting the 
phrases. It also includes the shifting of phrases for the new creation. 
 Most of the students and artists use this method as the Palta‘s can be created very easily by 
the artists. Further such kind of Palta‘s are more physical than musical. It entirely depends 
upon the talent of the performer, in the way he presents, the way he presents; the Palta‘s can 
be static or dynamic. The accent that a performer exhibits on the phrases changes the nature 
of the Palta‘s. 
 Palta‘s can be static or dynamic. A static Palta is more physical than musical. A dynamic 
Palta is more musical, involves physicality of „bol‟s‟ creativity of the „bol‟s‟ etc. 
 The concept of ―Laghu‖ discussed earlier indicates these meanings. Striking on the physical 
matra with the help of the „bol‟s‟ without awareness just to complete a Taal cycle can be as 
static Palta. Dynamic Palta is a process of making ourselves open for the creative Palta‘s to 
flow through us with more awareness. We can also make an in depth attempt to study the 
process of happening. It is this process that has been realized by most of the maestros who 
have brought into light, existing in the compositions and their Palta‘s. 
 
48 
 
Tihai. 
x 
Dhatitadha Titadhadha Titadhage Tinakina 
x 
Dha-Dhadha Titadhage Tinakina Dha-Dhadha 
O 
Titadhage Tinakina Dha--- Dhatitadha 
x 
Titadhadha Titadhage Tinakina Dha-dhadha 
x 
Titadhage Tinakina Dha-dhadha Titadhage 
x 
Tinakina Dha--- Dhatitadha Titadhadha 
o 
Titadhage Tinakina Dha-dhadha Titadhage 
x 
Tinakina Dha-Dhadha TitaDhage Tinakina 
3.4.6 Kayada 6: Delhi Gharana. Tempo-120 
 The next composition that we will be discussing is a Kayada .A simple yet poetic Kayada 
rare to find. This is a very basic Kayada starting with the ‗Dagga‘. The starting syllable is 
‗GI‘. Most of the compositions having ‗TITA‘ phrases start with ‗DHA‘. This Kayada is an 
exception, starting with left hand and ending with right hand strokes respectively. The 
starting and the ending „bol‟s‟ are open „bol‟s‟. 
 
 
 
 
49 
 
x 
Gina-Dha Ginatita GinaDhage Tinakina 
x 
Titatita Ginatita GinaDhage Tinakina 
o 
Kina-ta Kinatita Kinatake Tinakina 
x 
Titatita Ginatita GinaDhag Dhinagina 
Palta 1. (Dohra) 
x 
Gina-Dha Ginatita GinaDhage tinagina 
x 
Gina-Dha Ginatita GinaDhage tinagina 
o 
Gina-Dha Ginatita GinaDhage tinagina 
x 
Titatita Ginatita GinaDhag Tinakina 
Usually there is a practice of playing ‗Tina Kina‘ .In order to change the tone of the Palta and 
to bring in an element of surprise it has an open Bol ‗Tina Gina‘. 
Palta 2 
X 
Gina-Dha Ginatita Ginatita GinaDhage 
X 
Dhinagina Ginatita GinaDhage tinagina 
o 
Gina-Dha Ginatita GinaDhage Dhinagina 
X 
Titatita Ginatita GinaDhag Tinakina 
 
 
 
 
 
50 
 
Palta 3 
X 
Gina-Dha Ginatita Ginatita Gina-Dha 
X 
Ginatita Gina-Dha GinaDhage tinagina 
o 
Gina-Dha Ginatita GinaDhage Dhinagina 
X 
Titatita Ginatita GinaDhag Tinakina 
In the Palta 2&3 and we find that the phrase‘ Tinagina‘ is used to extend the Palta to the 
Mukh of the Kayada. If we would have played tinakina the Palta would end there itself 
making an eight matra Palta. This theme is used in most of the Kayada‟s to convert them into 
16 matra Kayada‟s. 
Palta 4: 
We can see the cutting of the phrases in order to bring a surprise element into the Kayada. 
Also converting the Kayada into 16 matra Kayada 
X 
Gina-Dha Ginatita GinaDhage DhinaDhage 
X 
Dhinagina Ginatita GinaDhage tinagina 
o 
Titagina Dhagetina Gina-Dha titagina 
X 
Titatita Ginatita GinaDhag Tinakina 
 
 
 
 
 
 
 
 
 
 
51 
 
Palta 5 (Repeating phrases technique) 
X 
Gina-Dha Ginatita Dhagedhina Dhagedhina 
X 
Dhinagina Ginatita GinaDhage tinagina 
o 
Titagina Dhagetina Gina-Dha titagina 
X 
Titatita Ginatita GinaDhag Tinakina 
 This is a rare kind of development in Delhi Gharana where the theme of the Kayada 
is extended in such a way that we get a totally new look of the Kayada. However the Kayada 
does not move from its parental face (Mukh), but has an element of melody and surprise. 
Playing a few of such Palta‘s and again rejoining the Mukh of a Kayada and there after 
making Palta‘s on the basis of phrases will create a great mixture and thus gives a more 
appeal to the composition. There are many possibilities of Palta‘s connected to Palta 4 & 5. 
We move into further possibilities of different taste. 
An illustration: 
Palta 6 (Reaching a climax in the Kayada) 
X 
Titagina Dhagetina KinaDha - -tita 
X 
GinaDhage Tinakina Titagina Dhagetina 
o 
Kinatita GinaDhage Tinakina Titagina 
X 
Dhagetina Kinatita GinaDhage Tinakina 
 The phrases ‗TitaginaDhagetinakina‘ indicate the introduction of Khanda jati into the Palta. 
This Variation thus makes a Kayada reach to its climax giving it a room to land into an 
excellent ‗Tihai‘. 
Tihai: this Tihai contains the phrases that are played in the previous Palta and thus the 
poetics of the Kayada is enhanced. 
 
 
52 
 
x 
Titagina Dhagedhina Ginatita ginaDhage 
x 
tinakina titagina Dhagedhina ginatita 
o 
GinaDhage Tinakina Dha- - - Titagina 
x 
Dhagedhina Ginatita GinaDhage Tinakina 
x 
Titagina Dhagedhina Ginatita GinaDhage 
x 
Tinakina Dha- - - Titagina Dhage dhina 
o 
Ginatita GinaDhage Tinakina Titagina 
x 
Dhagedhina Ginatita GinaDhage Tinakina 
 
3.4.7 Evolution of a Kayada: 
 
A Kayada is a heart of Tabla. The Kayada can be developed through various routes as we 
have studied some of the roots in detail. The development depends upon various aspects. 
They are Gharana, personal approach, various techniques etc. The main aim of the performer 
is to make a systematic evolution of a Kayada to such an extent that the need for further 
evolution is not felt and the Kayada reaches the climax. It is this art which makes the 
compositions to flourish or else these compositions are lifeless. 
 
 
 
 
 
 
 
53 
 
3.4.8. Evolution of phrases: 
There are various phases how the various syllables have been transformed in to 
ultimate compositions. Let us study how it happens. For instance this Kayada or a 
small phrase: 
Phrase 1: Dhati Dhati DhaDha Tina 
Phrase 2: Dhati Dhati DhaDha Tita Dhati Dhati DhaDha Tina Phrase 
Phrase 3: DhaDhatita DhaDhatinaPhrase 
 Phrase 4: DhaDha tirakita DhaDha Tina Phrase 
 Phrase 5: Dhatirakittak DhaDha Tina 
Here we see that ‗Ti‘ Becomes ‗Tita‘ then ‗Tirakita‘ then ‗Tirakitatak‘ and so on to 
bloom into a composition. Whenever we study a composition we come to know that various 
close „bol‟s‟ are separated by one or more open „bol‟s‟. It is just within these two possibilities 
of close and open „bol‟s‟ that we have hundreds of compositions that make this art so rich. 
Kayada’s based on ‘Dhita’ 
The phrase 'tita' has been transformed into the phrase 'dhita'.We add a base to the 
existing tita and play it in the reverse pattern. However depending upon the nishad of the 
Kayada the same phrase is also player like normal Tita with themiddle finger playing the 'ti' 
and. ‗te‘ first finger 'ta' adding a base to the 'dhi' thus making it sound 'dhita'.There are two 
ways of playing 'dhita'. In Delhi Gharana we have lot of Kayada‘s where two different 
methods are used to play the same Bol, ‗Dhita‘ in a Kayada and hence this is a unique way of 
expressing the same Bol in different ways. Such Kayada s will be discussed below. A Kayada 
has an expression of its own. Here I have found most of the performers playing this Kayada 
in different style. Most of the players play „Dhita‟ Bol starting first finger first and then the 
middle finger with added bass to the „Ti‟. Where are there are also artists who play ‗Tita’ in 
usual style add bass to ‗Ti‘ Bol to make it sound ‗Dhi‘. Both are accept tabla. 
 
54 
 
Palta 1 :( Most of the time we have a ‗Dohra‘ which is played after the Palta here we have 
what is called the ‗Badath‘ of a Kayada rather than making Palta‘s.) 
Difference between ‘Badath’ and ‘Palta’ 
 We come to know that a Kayada has to develop in a right channel in order to make it 
melodically edible. There are Palta‘s for the Kayada‘s which are more physical than being 
poetic. Badath is a word used to denote the musicality of the phrase. By Badath we mean the 
growth of the Kayada and by Palta we mean the forms of the Kayada. 
 Most of the Kayada‘s are eligible to grow and thus we have the process of ‗Badath‘ 
for the Kayada. This is one of such a Kayada. To know in an instance the nature of the 
Kayada is the vision of the master and thus he decides either to play the Palta‘s for the 
Kayada or to make a Badath of a ‗Kayada ‘. (Phrase reversed) 
X 
DhitaDhage Dhinagina Dhinagina DhitaDhage 
X 
Dhitadhita DhatitaDha GenaDhage Tinakina 
Khali 
Palta 3 
X 
DhitaDhage DhinaDhage Dhinadhita Dhaedhina 
X 
Dhitadhita DhatitaDha GenaDhage Tinakina 
Khali 
There can be more Variations of the same Palta (3). And can be termed as nested Variations. 
Hence we move towards other Variations. 
Palta 4(Repeating the phrases)
42
 
X 
DhitaDhage DhitaDhage Dhinadhita Dhagedhina 
X 
Dhitadhita DhatitaDha GenaDhage Tinakina 
Khali 
 
42
 Concept of duDhari Gat 
 
55 
 
 
 
Palta 5 :( Creating a grove of the existing phrases). 
Here we find that the phrase ‗Dhitata Dhita‘ has been used in the Variation. This phrase 
resembles a grove (1, 2, 3:1, 2, 3:1, 2) when played in a sequence or a loop. 
X 
Dhitatadhi Tatadhita DhitaDhage Dhinagina 
X 
Dhitadhita DhatitaDha GenaDhage Tinakina 
Khali 
There can be many nested groves of the phrase 
‗Dhitata Dhitata Dhita’. 
Some of them are as under 
1. Dhita dhita Dhadhita Dha 
2. DhitaDhaDha Dhitadhita 
3. DhadhitaDha Dhitadhita 
4. Dhitadhita tatadhita. And so on… 
 It is through these groves that the Kayada is established. There is always a change 
every time these groves are played. These groves are stand alone and thus need no further 
improvement.Most of the time we play them as a part of performance or in a practice 
sessions, and find that they are very well placed. Playing such groves in a loop is a part of 
western music and thus the instrument ‗Tabla‘ becomes a part of world music too. These 
small phrases from the Kayada also help the Tabla player to equip himself into fusion music. 
It is the traditional compositions and the knowledge to deliver the right phrases at the right 
time makes a Tabla player more valuable. 
Ati-Drut Teental: 
 Accompaniment is the most important part of the Tabla player. Playing Ati-Drut Teental in 
Tabla is very difficult and we have many techniques discovered by the maestros. 
The following „bol‟s‟ which are part of this Kayada have a possibility to turn them into ‗Ati 
Drut Teental’.
43
 
 
43
 Learnt under guruji Pt.Suraj Purandare. 
 
56 
 
DhaDhatita DhaDhatita Tatatita DhaDhatita 
DhatitaDha DhatitaDha Tatitata DhatitaDha 
TitaDhaDha TitaDhaDha Titatata TitaDhaDha 
DhatitaDha DhatitaDha Tatitata TatitaDha. And so on… 
However these „bol‟s‟ resemble like an ‗Ati drut‘
44
 Teental and not exactly the Teental. 
Playing Teental as it is a herculean task.
45
 
It is so important to study the Kayada and its Variations in detail as we get a lot of phrases 
from a single Kayada that has various applications in various aspects wherever Tabla 
instrument is used. It is the right technique at right time that delivers the possibility of making 
a situation more musical. Right and in-depth knowledge of the Gharana‘s and their 
ingredients is very much necessary. 
Palta 6. 
X 
Dhitadhita DhatitaDha GenaDhage Tinakina 
X 
Titatita Tatitata GenaDhage Dhinagina 
Khali 
 This Palta divides the Kayada into half and thus we have an 8 matra Palta…If we 
divide Kayada further we get two matra phrases. All these two matra phrases are complete in 
it and have been used in various other applications like Bhajan, Thumri, and accompaniment 
to instrumental and vocal music.It is after such a systematic study that we come to know what 
to play, when to play, why to play certain things so as to keep the musical approach alive. 
Considering the face of the Kayada we can play this particular Kayada in different style also. 
Continuously playing the (1, 2, 3, 4) count on the bayan and only the right hand will play the 
Kayada. This method is usually termed playing on the basis of ‗Gamak‘ Style. 
Tihai 
x 
Dhitadhita DhatitaDha GenaDhage Tinakina 
x 
 
44
 Fast teental played during the end of a concert by most of the instrumentalists. 
45
 Pt.Anokhelal Mishra a maestro from benaras Gharana is an exceptioon 
 
57 
 
Dha - - - - - - - Dhitadhita DhatitaDha 
o 
GinaDhage Tinakina Dha- - - - - - - 
x 
Dhitadhita DhatitaDha GenaDhage Tinakina 
 
 
 
58 
 
3.4.9 Kayada’s based on the phrase ‘Tirakita’ 
We have earlier discussed the evolution of the phrases in the previous chapter how ‗ti‘ 
becomes ‗tita‘ and then Tirakita etc. and so in. After a detailed study of these phrases of ‗ti‘ 
‘tita‘ and ‗dhita‘ we move on to the phrase ‗Tirakita‘. There are numerous phrases including 
the Bol ‗Tirakita‘. Some of them will be discussed here. The following Kayada is consisting 
of the basic Bol, ‗Ti‘, ‗Tirakita‘ ‘Tina‘, and ‗Dhina‘. 
 
 
Kayada 7: 
x 
Dha-tira KitaDha Dhi-na Dha-Dha- 
x 
Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
o 
Dha-ti- - -Dha- Tirakita Dha-Dha- 
x 
Tirakita Dha-ti- Dha-Dha- Ti-na- 
 
 
 
 
Palta 1: 
x 
Dha-tira KitaDha Dhi-na Dha-Dha- 
x 
Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
o 
Dha-tira KitaDha Dhi-na Dha-Dha- 
x 
Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
 
59 
 
x 
Dha-tira KitaDha Dhi-na Dha-Dha- 
x 
Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
o 
Dha-ti- - -Dha- Tirakita Dha-Dha- 
x 
Tirakita Dha-ti- Dha-Dha- Ti-na- 
 
Palta 2 
x 
Dha-tira KitaDha Dhi-na Dha-Dha- 
X 
Dha-Dhi- Na-Dha- Dha-Dha- Ti-na- 
o 
Dha-ti- - -Dha- Tirakita Dha-Dha- 
x 
Tirakita Dha-ti- Dha-Dha- Ti-na- 
Palta 3 
x 
Dha-tira KitaDha Dhi-na Dha-Dha- 
X 
Dhi-Na Dha-Dha Dhi-Na- Dha-Dha- 
o 
Dha-ti- - -Dha- Tirakita Dha-Dha- 
x 
Tirakita Dha-ti- Dha-Dha- Ti-na- 
 
 
60 
 
Palta 4: Introducing the pause so as to bring an element of surprise. 
x 
Dha-tira KitaDha Dhi-na Dha-Dha- 
x 
Dhi-Na- Dha-Dhi- Na-Dha- - - Dha- 
o 
Dha-dhi- Na-Dha- Dhi-na- Dha-Dha- 
x 
Dhi-na- Dha-ti- Dha-Dha- Ti-na 
This palta is usually continued with the half Mukh of the Kayada, however this Palta 
is also complete in itself and a Khali can also be continued with the same theme. 
 
Palta 5: Repeating the phrases including ’Tirakita’. 
x 
Dha-tira Kitatira KitaDha- Dhi-na 
x 
Tirakita Dha-ti- Dha-Dha- Dhi-na- 
o 
Dha-ti- - -Dha- Tirakita Dha-Dha- 
x 
Tirakita Dha-ti- Dha-Dha-Ti-na- 
Palta 6: 
x 
Dha-tira Kitadhi- Na-Dha- Dha-dhi 
x 
Na-Dha- dhi-na- Dha-Dha- Dhi-na- 
o 
Dha-dhi- Na-Dha- Dha-dhi- Na-Dha- 
x 
Dhi-na- Dha-ti- Dha-Dha- Ti-na- 
 
 
61 
 
 Pt. Suresh samantji is a Tabla player of Benares Gharana. During one of my visits to 
his residence, I was taught a technique of introducing various jati‟s into a Chatushra jati 
Kayada. This is a universal technique that can be useful in all the Taal‟s. Since this is a rare 
phenomenon I would not be able to discuss this openly according to the instructions of my 
guru. However I have tried to point to the way in which the Variations of a Kayada tend to 
travel. 
 
Tihai: The Tihai of this Kayada can be a simple Tihai, a Cakradar Tihai or any Tihai 
according to the imagination of the Tabla player. Particularly here is a formula given to 
compose a Tihai and hence the reader is requested to compose a Tihai of his choice. The 
formula is a universal one and has been discovered so as to make the compositions very easy. 
The dynamic compositions like the Tihai cannot be the same all the time. They differ 
according to the situations and they are instantly composed by the master‘s. Hence there is a 
need of a formula to make the things easy. These formulas are called as the routes through 
which a ‗Tihai‘s‘ are composed. 
 
11matra+11matra+10: This Tihai contains the Mukh of the Kayada followed by 25 
matra phrase followed by a Dha. It is this formula that most of the Tabla players use to 
compose a Tihai all over. This is a static formula that is usually used by uncreative people as 
it does not suit all the Kayada‘s and the Rela‘s. However maestros have used this formula in 
a more creative way creating a further division in the 11 matra section and hence have 
reached a climax in such a Tihai. The reader of this formula is free to compose any Tihai 
based on this and the total count is 32 matra‘s. These aspects are very rare and have to be 
learnt under a guru and not publicly discussed. However a sincere attempt has been made to 
bring some of them into light .There exist much more formulas that help us in composing a 
Tihai and they have to be learnt under a tradition. Once learnt and realized such formulas 
make an artist unique performer in a bunch of performer‘s. 
 
 
 
 
62 
 
3.4.10. Kayada 8. Chatushra Jati. in Teental 
One of the most widely played Kayada that is played by almost all the artists has been 
discussed below. The unique factor known as ‗Ganga Chalan
46
‘.Ganga chalan is a 
composition that contains using the Kayada face in all the Laya: Tishra, Mishra and 
Sankirna jati Kayada‘s. 
The Mukh of the Kayada 
x 
DhatiDhage NaDhatirakita DhatiDhage Tinakina 
x 
Tatitake Natatirakita DhatiDhage dhinagina 
Palta 1. (Dohra.) 
x 
DhatiDhage NaDhatirakita DhatiDhage NaDhatirakita 
x 
DhatiDhage NaDhatirakita DhatiDhage tinakina 
Palta 2. 
x 
DhatiDhage NaDhatirakita DhatiDhage NaDhatirakita 
x 
DhatiDhage Dhinagina DhatiDhage tinakina 
 
 
Palta 3: (Here we see that the phrases (DhatiDhagena) is a 5 matra phrase and hence 
indicates Khanda jati) 
x 
DhatiDhage NaDhatiDha GenaDhatira KitaDhatiDha 
x 
TirakitaDhati Dhagetina KinaDhage tinakina 
 
 
 
46
 Composed by legendry Tabla maestro Pt.Seshgiri Hangal 
 
63 
 
Palta 4. 
x 
DhatiDhage NaDhatirakita naDhatirakita DhatiDhage 
x 
NaDhatirakita NaDhatirakita DhatiDhage tinakina 
Palta 5 
x 
DhatiDhage NaDhatirakita NaDhatirakita NaDhatirakita 
x 
NaDhatirakita NaDhatirakita DhatiDhage tinakina 
Palta 6: Introducing the pauses 
x 
DhatiDhage NaDhatirakita Dha- - - DhatiDhage 
x 
NaDhatirakita Dha- - - DhatiDhage tinakina 
 
There can be various Palta‘s of the Palta 6 and further developed into various other 
Palta‘s. Introduction of one pause is like a spark that gives an imagination for the various 
other Palta‘s. 
An illustration (a) 
x 
DhatiDhage NaDhatirakita Dha- - - NaDhatirakita 
x 
NaDhatirakita Dha- - - DhatiDhage tinakina 
(b) 
x 
DhatiDhage NaDhatirakita Dha- Dhati DhagenaDha 
x 
TirakitaDha- NaDhatirakita DhatiDhage tinakina 
 
 
 
 
64 
 
(c)Inter-changing (b) 
x 
DhatiDhage NaDhatirakita Dha-naDha TirakitaDhati 
x 
DhagenaDha TirakitaDha- DhatiDhage tinakina 
And so on….. 
 Here we can see that there can be many Palta‘s of the theme of introducing gaps. One 
Palta thus works like a face of a Kayada and we thus have Palta‘s of the face of the Kayada. 
One theme thus is an extraction of the face of the Kayada.There are straight way‘s, nested 
way‘s, theme based Variations etc. 
 Kayada gives rise to many Palta‘s. A Palta gives rise to many other Palta‘s. During 
the course of playing we have instances of getting a new face of a Kayada from the nested 
Palta‘s.Maestro‘s who have found new Kayada‘s from a Kayada, share it to their disciples 
and the tradition continues. Similarly a Kayada can be the father of various other 
compositions like Rela, chalan‘s etc. As we play a Kayada in double speed an effort is made 
to show the Tishra jati of the Kayada. This style of playing is prominently seen in Delhi 
Gharana. 
3.4.11. Ganga Chalan: 
Ganga chalan is a composition of Pt.Seshgiri Hangal.Ganga chalan is a series of rhythmic 
patterns played before playing the Kayada in double Tempo. The series contains the 
introducing the Khanda Jati, Mishra Jati and Sankirna Jati. Since it is a rare composition, it 
is not possible to discuss openly and has to be learnt under a guru. However we have a video 
of the same on www.Youtube.com
47
 which can be viewed and studied. 
Introducing the Theme Phrase ‘Tirakita’: 
x 
DhatiDhage NaDhatirakita TirakitaDhati DhaDhatirakita 
x 
DhatiDhage NaDhatirakita DhatiDhage tinakina 
 
 
 
47
 Pls search Uday Kulkarni on www.Youtube.com 
http://www.youtube.com/
 
65 
 
Unique Palta’s: 
x 
DhatiDhati DhagenaDha Tirakitatirakita NaDhatirakita 
x 
DhatiDhage NaDhatirakita DhatiDhage Tinakina 
The number of combination possible in this Kayada is huge and thus the development 
of this Kayada is easily possible. Most of the maestros have played this Kayada giving it a 
theme of Rela also. 
3.4.12 Pt.Basavraj Bendigiri’s Vision of the Kayada: 
x 
DhatiDhage NaDhatirakita DhatiDhage Tinakina 
x 
Dhatirakittak TakDhatirakita DhatiDhage Tinakidnag 
o 
Tirakittaktira Kitataktatira Kittaktirakita Taktatirakita 
x 
Dhatirakittak TakDhatirakita DhatiDhage Tinakina 
 
There is a another version of the same Kayada 
x 
DhatiDhage NaDhatirakita DhatiDhage Tinakina 
x 
Dhatirakittak TakDhatirakita DhatiDhage Tinakina 
o 
Tirakittaktira Kitataktatira Kittaktirakita Taktatirakita 
x 
Dhatirakittak TakDhatirakita DhatiDhage Tinakina 
 
 
 
 
 
 
66 
 
There are lots of versions of this Kayada Ustad. Habibuddin Khan of Delhi and 
Ajrada Gharana has played this Kayada in a different way explaining the worth of the 
Kayada. He has used ―Kittak‖ instead of ―tirakita‖. 
 
x 
DhatiDhage NaDhatirakita DhatiDhage Tinakina 
x 
Tirakittaktira Kitataktatira DhatiDhage Dhinagita 
 
 We also have a video of used Zakir Hussain playing this Kayada in a similar way.―Tirakita‖ is a Bol 
stating from right hand ends on right hand. ―Kittak‖ starts from left hand ends on left hand. Even 
though they appear to be of the same length, we have the ―Tirakita‖ version to be more popular than 
―kittak‖ version i.e. any played by maestro. 
 
67 
 
3.4.13. Conclusion of Kayada‟s of Delhi Gharana 
 Kayada is one of the most important phase of a Tabla solo recital. 
 A Kayada is the heart of the Delhi Gharana as well as Tabla solo recital. 
 There can be no Tabla solo recital without a Tabla solo recital. 
 Delhi Gharana is the first to introducethe improvisational rules of Tabla. 
 The improvisation rules for the Kayada set by Delhi Gharana‟s been the universal 
standard and all the other Gharana‟s have imported most of the rules that were stated 
by the Delhi Gharana. 
 There can be no other „bol‟s‟ that can be included in the Variations of the Kayada in 
Delhi Gharana‟s. 
 Most of the time the theme of the Kayada is retained thus not allowing the Kayada to 
deviate from the theme into Rela or other compositions. 
 There is lot of collection of the Kayada‟s in Delhi Gharana. 
 Most of the Kayada‟s are of „Barabar‟ Laya or „Chatushra‟ jati Kayada‟s. 
 Delhi Gharana Kayada‟s of Chatushra jati were converted into Ajrada Gharana 
Kayada‟s of Tishra jati. 
 A Kayada is an inspiration for most of other composition like Rela. 
 One of the unique nature of the Kayada‟s of Delhi Gharana is the monotonous effect 
of the Kayada and thus is easily identifiable in the bunch of compositions. 
 Thus Kayada form the important part of Tabla solo recital. 
 
68 
 
3.4.14. Evolution of a Kayada into a Rela. 
 There are instances when we experience Rela phrases in the Kayada‘s above. The 
Rela is a combination of more shahi „bol‟s‟ than the chat „bol‟s‟. This is the major 
differentiation in Kayada and a Rela. Rela is a composition that contains the tightly packed 
„bol‟s‟ ending usual with a closed Bol. It starts with an open Bol usually like ―Dha‖ or ―Ge‖ 
the majority of „bol‟s‟ in the composition are :Shahi‖ „bol‟s‟ they are usually non sustaining 
closed „bol‟s‟. Unlike a Kayada, a Rela may or may not have Palta‘s. A Rela can turn into a 
Rela, Gats and Cakradar are also played keeping Rela as a groove. 
In one of the educational video‘s we have it. Suresh Talwalkar 1. Explaining the fasts of 
Kayada and Rela. 
Kayada ends on tirakina/ dhinagina. 
Rela ends on tirakittak/dhinakittak. 
We see that a Rela always (most of the time) ends on a closed Bol. (note). The 
circular connection of the „bol‟s‟ of a Rela makes it more continuous to hear. 
Limitations of a Kayada & Origins of Rela 
 The limitations of a Kayada gives rise to the freeness that is experiences in Rela. A 
Kayada is also played in a definite Laya (Tempo) exceeding which the beauty of the Kayada 
is lost. There is lack of stillness in the Kayada as the body of Kayada contains phrases of 
different sizes. To define these phrases, the divisions restrain a Kayada from achieving still 
environment. 
 A Kayada is also having various routes for its development into Prakars; Palta‘s 
where each Palta creates more division in the given space through the phrases of the Kayada. 
―More the divisions, more the creativity, results in lack of the stillness‖. However there are 
instances of maestros who have tried to bring a kind of stillness into a Kayada that a Rela 
enjoys. Delhi Gharana is no exception to this fact, that the Kayada and its environment have 
been designed in such a way that is a lack of mathematical approach in Delhi Gharana as it is 
more based on Laya based development. 
 
69 
 
3.5 Rela 
 After studying the limitations of Kayada‘s in Delhi Gharana‘s (including other 
Gharana‘s), Poorab Gharana‘s or Farukhabad Gharana has tried to bring this gap by 
making rela based Kayada‘s. These aspects will be discussed in coming chapters. However 
all the Gharana‘s have given Rela a great places in Tabla solo because of its remarkable 
applications in various sections. In Delhi Gharana we have typical rela whose origin are 
directly Related to Kayada‘s. 
3.5.1. Rela 1. Vilambit/Madhya Laya. Tempo: 60/120 Teental 
An illustration: 
x 
Dhagedhina TirakitaDhatira Kittakdatira kittaktirakita 
0 
Tatirakittak Tiraktatira KittakDhatira Kittaktirakita 
 There are various forms of the Rela. They can be called as Palta‘s or prakar‘s. 
However most of the Palta‘s have no other phrases. The change of action is shown by 
increasing or decreasing the ascent of the Rela. Variations of tone create the change. The 
phrases here denote the increase of tone in the Rela that to be understood. 
x 
Dhatira Kittak Tirakita Dha-tira Kitatak Tirakita Dhatira Kitatak 
x 
Tatirakittak Tiraktatira KittakDhatira Kittaktirakita 
 There is an ascent on tak. Similarly the increase of tone on Dha, tak, kittak most of the 
advanced maestros have ascent on tira. There are instances of the Rela developed like a 
Kayada. 
 
Palta 1 
Dhatirakittak TirakitaDhatira Kittaktirakita Dhatirakittak 
Palta 2 
Dhatirakittak TirakitaDhatira KittakDhatira kittaktirakita 
Palta 3 
Dhatirakittak Dhatirakitak TirakitaDhatira kittakitrata 
Palta 4 
Dhatirakittak Tirakitatirakita Dhatirakittak tirakitatirakita 
 
70 
 
Palta 5 
Dhatirakittak Kittaktirakira TirakitaDhatira kittaktirakita 
Palta 6 
Dhatirakittak TirakitaDhatira KittakDhatira kittaktirakita 
Palta 7 
DhatirakitaDha TirakitaDhatira Kittaktirakita Dhatirakittak 
 And so on….. 
The Kayada style development is also suiTabla for the Rela. There can be lot of 
themes for ending a rela. A composed Tihai for the rela known as Cakradar Tihai has been 
given below. 
x 
Dhatirakitak TirakitaDhatira Kittatirakita DhaDhatira 
x 
Kitakitarakita Dhatirakittak TirakitaDha Dhatirakitatak 
o 
TirakitaDhatira Kittatirakita Dha Dhatirakitak 
x 
TirakitaDhatira Kittatirakita DhaDhatira Kitakitarakita 
x(2
nd
 avartan) 
Dhatirakittak TirakitaDha Dhatirakitatak TirakitaDhatira 
x 
Kittatirakita Dha Dhatirakitak TirakitaDhatira 
o 
Kittatirakita DhaDhatira Kitakitarakita Dhatirakittak 
x 
TirakitaDha Dhatirakitatak TirakitaDhatira Kittatirakita 
x 
Dha 
 
 
 
 
 
 
71 
 
3.5.2 Teental Rela 2. Madhya/Drut Laya 
One of the unique rela‘s told to be my guru, is a composition of Pt.Basavraj Bendigiri and has 
a unique phrase as its Mukh. 
x 
Gidnag tirakita Dhatira gidanag Dhatira gidanag Tirakita Dha-tira 
x 
Kidnag tirakita Tatira kidanag Dhatira gidanag Tirakita Dha-tira 
Variation 1 
X 
Gidnag tirakita Dhatira gidanag Gidana gtirakita Dhatira gidnag 
X 
Gidnag tirakita Dhatira gidnag Dhatira gidanag Tirakita Dhatira 
O 
Kidnag tirakita Tatira kidanag Kidana gtirakita Tatira kidnag 
X 
Gidnag tirakita Dhatira gidnag Dhatira gidanag Tirakita Dhatira 
Variation 2 
X 
Gidnagtirakita Dhatiragidanag Dhatiragidnag gidnagtirakita 
X 
Gidnagtirakita Dhatiragidnag Dhatiragidanag tirakitaDhatira 
O 
Kidnagtirakita Tatirakidanag Tatirakidnag kidnagtirakita 
X 
Gidnagtirakita Dhatiragidnag Dhatiragidanag tirakitaDhatira 
Variation 3 
X 
Gidnagtirakita Dhatiragidanag GidnagDhatira gidnagtirakita 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag tirakitaDhatira 
o 
Kidnagtirakita Tatirakidanag kidnagtatira kidnagtirakita 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag tirakitaDhatira 
 
72 
 
 
 
Variation 4 
x 
Gidnagtirakita DhagidnagDha Gidnaggidnag Dhatiragidnag 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag tirakitaDhatira 
o 
Kidnagtirakita Takidnagta Kidnagkidnag tatirakidnag 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag tirakitaDhatira 
Variation 5 
x 
Gidnaggidnag DhatirakitaDha Gidnagidnag Dhatiragidnag 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag TirakitaDhatira 
o 
Kidnagkidnag Tatirakitata Kidnagkidnag Tatirakidanag 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag TirakitaDhatira 
Variation 6 
x 
Dhagidnagtira KitaDhatirakita Gidnagtirakita DhatirakitaDha 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag TirakitaDhatira 
o 
Takidnagtira Kitatatirakita Gidnagtirakita DhatirakitaDha 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag TirakitaDhatira 
 
 
 
 
 
 
73 
 
 
 
Variation 7 
x 
Gidnaggidnag Gidnagtirakita Dhatiragidnag TirakitaDhatira 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag TirakitaDhatira 
o 
Kidnagkidnag KidnagtirakitaDhatiragidnag TirakitaDhatira 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag TirakitaDhatira 
 
Variation 8 
x 
Dhatiragidanag TirakitaDhatira Dhatiragidanag TirakitaDhatira 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag tirakitaDhatira 
o 
Tatirakidanag Tirakitatatira Tatirakidanag Tirakitatatira 
x 
Gidnagtirakita Dhatiragidnag Dhatiragidanag TirakitaDhatira 
 
 
74 
 
Tihai 
x 
Dhatiragidnag TirakitaDhatira Gidanagtirakita Dha-Dhatira 
x 
Gidanagtirakita Dhatiragidanag TirakitaDha- Dhatiragidanag 
o 
TirakitaDhatira Gidnagtirakita Dha- - - Dhatiragidanag 
x 
TirakitaDhatira Gidanagtirakita Dha-Dhatira Gidanag tirakita 
x 
Dhatiragidnag tirakitaDha- DhatiraGidanag TirakitaDhatira 
x 
gidnagTirakita Dha- - - Dhatiragidnag TirakitaDhatira 
o 
gidnagTirakita Dha-Dhatira gidnagTirakita Dha-tiragidnag 
x 
tirakitaDha- DhatiraGidnag tirakitaDhatira Gidnagtirakita 
Dha 
One of the popular Rela‘s played by ustad Ahmedjan Tirakwas has a very simple theme 
given below. 
 
3.5.3 Rela 3. Vilambit/Madhya Laya. Tempo: 60/120 
 
 
The ‗Tak’ is the prominent Bol that is played in the Kayada. There are various phrase 
based Variations of the Kayada. This Kayada is played in faster Tempo and thus can reach 
high speeds. The Stability of this Rela is awesome and thus is an important Rela to be 
considered for the Solo performance as well as accompaniment. 
 
 
x 
Dha-Tira Kittak TakDha Tirakita Dhatira Kitatak Ti-na- Kittak 
x 
Ta-Tira Kittak Tak-ta- Kitatak Dhatira Kitatak Dhi-Na- Kitatak 
 
75 
 
Variation 1(Dohra has to be played by default before) 
 
The next Variation includes playing the TakDha Tirakita phrase three times. This 
Variation is an extract from Palta 1. Hence reaches dead end of developing the phrase 
TakDha Tirakita. 
Variation 2 
 
Variation 3 & 4 
X 
Dha-Tira Kittak TakDha Tirakita TakDha Tirakita Dha-Tira Kittak 
X 
TakDha Tirakita TakDha Tirakita Dhatira Kitatak Ti-Na- Kitatak 
x 
Dha-Tira Kittak TakDha Tirakita TakDha Tirakita Dha-Tira Kittak 
x 
Dha-Tira Kittak TakDha Tirakita Dhatira Kitatak Ti-na- Kittak 
x 
Dha-Tira Kittak TakDha Tirakita Ti-na- Kittak Dha-Tira Kittak 
x 
Ti-na- Kittak TakDha Tirakita Dhatira Kitatak Ti-na- Kittak 
x 
Dha-Tira Kittak Dha-Tira Kittak Dha-Tira Kittak Dha-Tira Kittak 
x 
TakDha Tirakita TakDha Tirakita Dhatira Kitatak Ti-na- Kittak 
 
76 
 
Variation 5 
x 
TakDha Tirakita Dha-Tira Kittak Ti-na- Kittak Dha-Tira Kittak 
x 
TakDha Tirakita Dhi-na- Kittak Dhatira Kitatak Ti-na- Kittak 
Cakradar Tihai 
x 
Dha-Tira Kittak TakDha Tirakita Ti-na- Kittak Dha-Dha-tira 
x 
Kittak TakDha Tirakita Tina Kittak Dha- Dha- Tira Kittak 
o 
TakDha Tirakita Tinakitatak Dha--- Dha-Tira Kittak 
x 
TakDha Tirakita Ti-na- Kittak Dha-Dha-tira Kittak TakDha 
x 
Tirakita Tina Kittak Dha- Dha- Tira Kittak TakDha Tirakita 
x 
Tinakitatak Dha--- Dha-Tira Kittak TakDha Tirakita 
o 
Ti-na- Kittak Dha-Dha-tira Kittak TakDha Tirakita Tina 
x 
Kittak Dha- Dha- Tira Kittak TakDha Tirakita Tinakitatak 
x 
Dha 
 
 
 
 
 
77 
 
3.5.4 Teental Rela 4. Vilambit/Madhya Laya. Tempo: 60/120 
A Rela inspired by the phrase ‘Tirakita Tirakita’ 
x 
Dhatira Kitatira KitaDha Tirakita 
X 
Dhatira KitaDha Ti-na- kittak 
O 
Tatira Kitatira Kitata Tirakita 
X 
Dhatira KitaDha Dhi-na- kittak 
 
Some of the unique and unique Palta‘s 
Palta 1 
x 
Dhatira Kitatira KitaDha Tirakita 
X 
Tirakita Tirakita Dha-Dha- Tirakita 
O 
Dhatira Kitatira KitaDha Tirakita 
X 
Dhatira KitaDha ti-na- kittak 
 
Palta 2 
x 
Dhatira Kitatira KitaDha Tirakita 
X 
Tirakita Dha-Dha- Tirakita Tirakita 
O 
Dhatira Kitatira KitaDha Tirakita 
X 
Dhatira KitaDha ti-na- kittak 
 
 
78 
 
Palta 3 
x 
Dhatira KitaDha- Tirakita Dha-Dha- 
x 
Tirakita Tirakita DhaDha Tirakita 
O 
Dhatira Kitatira KitaDha Tirakita 
x 
Dhatira KitaDha ti-na- kittak 
Palta 4 
x 
Dhatira Kitatira KitaDha Tirakita 
x 
Tirakita Dha-Dha- Tirakita Tirakita 
O 
Dhatira Kitatira KitaDha Tirakita 
x 
Dhatira KitaDha ti-na- kittak 
Palta 5 
x 
Dhatira Kitatira KitaDha Tirakita 
X 
Dha-Dha- Tirakita Dha-Dha- Tirakita 
O 
Dhatira Kitatira KitaDha Tirakita 
X 
Dhatira KitaDha ti-na- kittak 
x 
Dha-tira Kitatira KitaDha Tirakita 
X 
Dha-ti- Dha-ge- ti-na- Ki-na- 
o 
 
79 
 
Some Palta‘s discussed here have shifting phrase method for composing the Palta‘s. 
 
A small change or transformation from Dhati Dhage Tina kina to Dhatira kitaDha 
Tina kittak. The 4 Rela‘s discussed above show that the Rela‘s of Delhi Gharana‘s are 
monotonous and thus are in Chatushra Laya. These Rela‘s thus have a standard that is 
applied to all the other Rela and thus there is no point in elaborating numerous Rela‘s of this 
Gharana‘s. Introduction of Gap‘s in the Variations of the Rela is not seen prominent and thus 
we can imagine the next Palta‘s vary easily. 
Tatira Kitatira Kitata Tirakita 
x 
Dha-ti- Dha-ge- dhi-na- gi-na- 
 
80 
 
3.5.5 Conclusion of Rela in Delhi gharana 
 Rela of Delhi Gharana are monotonous. 
 There is comparatively very less variety of Rela in the Delhi Gharana 
 The Rela show an inheritance from Kayada‟s in Delhi Gharana and hence most of the 
Rela‟s have a same theme of Chatushra jati 
 Variations of Rela are like the Kayada‟s of Delhi Gharana‟s 
 Most of the maestros have played Gat‟s and Cakradar keeping Rela as a theme. 
 We do not find a Rela‟s evolution into Rau and Chalans in Delhi Gharana‟s.48 
 The evolution is possible depending upon the imagination of the artist. 
 Rela form the important part and have the priority next to Kayada‟s in Tabla solo 
recital in Delhi Gharana. 
 
48
 There are no evidences of recordings. 
 
81 
 
4.Farukhabad Gharana 
Farukhabad Gharana
49
 of Tabla is one of the most impressive Gharana‘s. The 
compositions were different from its contemporaries as this Gharana was used mostly for 
accompanying dance hence there was a need to play the syllables more powerful changing 
the compositions and their nature. The compositions of this Gharana include colourful 
sounds and stroke combinations unknown to the comparatively austere style of Delhi 
Gharana. Farukhabad Gharana players prefer open resonant bayan.
50
 The compositions like 
chalans were more introduced thus leading the development of the compositions to the style 
of Rela. The compositions like peskhar is famous one of this Gharana. Ustad ahmedjan 
tirakwa was one of the prominent performers of this Gharana whos popularized this 
Gharana. 
It is said that the Farukhabad style of Tabla playing is the essence of Delhi, Lucknow, 
Ajarada Gharana. Farukabad style is the expertise of ‗Chanti’ ‗Lab‘ and ‗Syahi „bol‟s‟’. 
Beautiful gat, CHALAN, REKA & RAU get prominence in this style
51
.Ustad Ahamadjan 
Thirakwa added much popularity to Farukabad style of Tabla playing. 
4.1 Tradition of Farukhabad Gharana: 
 Farukhabad Gharana is one of the oldest "Gharana", (school) of Tabla. It was 
created in the 11th Century by a Rajput Court musician.Akaasa, who later accepted Islam
52
 as 
his religion and got converted into a Muslim. He also changed his name from Akaasa to 
"MirAkaasa‖. He was the first to introduce „bol‟s‟ in Tabla after its creation. The first „bol‟s‟ 
introduced in Tabla were "TAT-DHIT-THUM-NAN". Mir Akaasa died in the year 
1189AD. He passed his legacy to his 7th and the youngest son Ustad Bilawal Khan who later 
passed the touch of the Gharana to Ustad Ali Bux. This tradition continued till the 26th 
descendant. Ustad Haji ViLayat Ali Khan who gave a name to this Gharana as previously it 
was only known as "PurbiBaj", or the eastern Style of Playing drums.49
Vintage Tabla Repertory - G.M. Wegner 
50
 G.M.Vegnar lineage 5 the Tabla tradition 
51
 The art of Tabla playing by Sudhir .k.verma 
52
 A religion 
 
82 
 
 Ustad Haji Vilayat Ali Khan (1779-1826) gave this Gharana the name of the province 
where he used to live, which was Farukhabad. Ustad Haji Vilayat 
53
 Khan got the title of 
Haji after his completion of 7 haj (Islamic pilgrimage). Haji saheb got famous after his 
famous battle of Tabla Gats with Ustad Salari Khan saheb, who has challenged Ustad Bakshu 
Khansaheb of Lucknow Gharana, who was also the uncle of Ustad Haji ViLayat Ali Khan. 
Thus in order to save his uncle's pride Haji saheb fought the battle of Tabla Gats with Ustad 
Salari Khansaheb. This battle continued for almost 15 days where many Gats (authentic 
composition of the Gharanas) and Jodas (pairs of such compositions) were exchanged. On 
the 15th day Haji saheb played a unique Gat (Gat of Gazi) whose joda (pair) Ustad Salari 
Khansaheb could not produced. Thus Haji saheb was declared the winner. Ustad Bakshu 
Khansaheb as a reward got Haji saheb Married to his Daughter and gave 14 authentic Gats 
known as daheziGats to Ustad Haji Vilayat Ali Khan as dowry. 
Lineage: 
 Descendant of the Farukhabad Gharana 1.Mir Akaasa(founder)
54
 (1132 - 1189) 2.Ustad 
Bilawal Khan (1151 - 1208) 3.Ustad ALi Bux (kran) (1182 - 1255) 4.Ustad Bairam Khan 
(1204 - 1260) 5.Ustad Dhamman Khan (1236 - 1292) 6.Ustad Tajalmulh Khan (1260 - 1297) 
7.Ustad Bunda Khan (1284 - 1329) 8.Ustad Asgari Khan (1306 - 1348) 9.Ustad Ali Raza 
Khan (1331 - 1371) 10.Ustad Ali Ahmed Khan (1355 - 1398) 11.Ustad Ramzan Khan (1378 - 
1438) 12.Ustad Bakshu Khan (1397 - 1508) 13.Ustad Ali Asgar Khan (1425 - 1480) 14.Ustad 
Neyaz Khan (1450 - 1525) 15.Ustad Daulu Khan (1496 - 1548) 16.Ustad Waheed Khan 
(1517 - 1565) 17.Ustad Altaf Khan (1534 - 1574) 18.Ustad Jannesar Khan (1546 - 1609) 
19.Ustad Dilawar Khan (1570 - 1646) 20.Ustad Yawar Khan (1602 - 1653) 21.Ustad Nasru 
Khan (1628 - 1677) 22.Ustad Bhurey Khan (1648 - 1691) 23.Ustad Enayat Khan (1676 - 
1732) 24.Ustad Murad Khan (1705 - 1747) 25.Ustad Inam Ali Khan (1731 - 1790) 26.Ustad 
Shetab Ali Khan (1759 - 1816) 27.Ustad Aman ALi Khan (1779 - 1826) 28.Ustad Haji 
ViLayat Ali Khan (1803 - 1873) 29.Ustad Nesar Hussain Khan (1824 - 1877) 30.Ustad 
Nanhe Khan (pariwale) (1847 - 1902) 31.Ustad AMsit Khan (1872 - 1974) 32.Ustad 
Karamatullah Khan (1917 - 1977) 33.Ustad Sabir Khan (1959) 34. Arif Khan (1986) Asif 
Khan (1990) Ameen Khan (1992) The Great Tabla maestro Ustad Sabir Khan saheb is the 
KHALIFA of this GHARANA. 
 
53
 wikipidea 
54
 Most of the evidence suggests that ustad hazi viLayat khan was the founder of Farukkabad Gharana 
.however there is a delima regarding the founder. 
file:///I:\wiki\Sabir_Khan
 
83 
 
Ustad Ahmedjaan Thirakwa Khan was also the student of Ustad Nanhe Khan (a decedent of 
this Gharana), thus a lot of influence of Farukhabad Baj is derived in his performance. 
 
 
84 
 
4.2 Compositions of Farukhabad Gharana: 
 
 There are bunch of compositions in Farukhabad Gharana thanks to the contribution 
of dynamic composers like Hazi vilayat khan and Ustad Amir Hussain Khan.There is a rich 
dictionary of compositions like peshkar, Kayada, Rela, chalans Gats and Cakradar‘s. 
 The Gharana that we have today was influenced by dance and hence there were more 
compositions that had an effect of a chalan. In fact the Kayada‘s that were composed were 
also chalan based. The compositions tend to move towards chalan‘s or Rela‘s during their 
developments. There was new concept like Gat Kayada
55
, Kayada Rela
56
, Gatang Rela
57
 etc 
that were introduced thus adding more beauty to the existing syllables. 
 The Gat compositions were special aspect of the Gharana rather than Kayada‘s of 
Delhi Gharana. A Gat of Farukhabad Gharana is unique in nature. The Gat compositions 
include ―DhiraDhira‖ phrases frequently in its ending phrases. Most of them were composed 
by composers like Hazi ViLayat Khan and Ustad Amir Husain khan apart from other 
maestros. It is the compositions played by ustad ahmedjan tirakwa that made an impact and a 
mark of this Gharana among the people. There are various compositions that are included in 
the thesis. The peshkar is one of such important composition. The badath of the peshkar is 
also studied in detail. This badath was taught to me by my guruji Pt.somashekhar Holgundi. 
Playing style of Farukhanad Gharana: 
The playing style of Farukhabad Gharana matured from the strong dance influence 
of Lucknow Gharana into an ideal medium for Tabla solo performance. It includes number 
of colorful sound productions and stroke combinations unknown to the comparatively austere 
style of Delhi Gharana. Farukhabad Gharana prefer open, resonant bayam strokes with the 
greater scope for a variety of glissando effects. The variety and the quality of the 
compositions is astonishing. It is all the gift of all the astonishing composers like hazi viLayat 
khan and amir hussain khan. 
The compositions of Farukhabad Gharana were different from its conTemporaries as 
this Gharana was used mostly for accompanying dance. There was a need to play the 
syllables with a larger tone which lead to the change in the original compositions of Delhi 
Gharana. 
 
55
 A Kayada having a part of Gat in its mukh 
56
 A Kayada having the charecterstics of a Rela 
57
 A Rela having most of the charectrstics of a Gat 
 
85 
 
4.3 Peshkar ,Kayada & Rela 
Peshkar of farukhabad gharana 
 
Peshkar of Farukhabad Gharana is the popular Peshkar that was popularized by the 
legendry Tabla player Ustad Ahmedjan Tirakwa. The definition of peshkar has been 
explained in the Delhi Gharana chapter. The mukh (face) of the peshkar is as follows: 
Dhi—kda Dhin-Dha- -- Dha- Dhin-Dha- 
x 
Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
o 
Ti- - kda Tin-ta- -ta- Tin-ta- 
x 
Dha-ti- Dha-ti- Dha-Dha- Dhi-na- 
 
 The peshkar taught by my guruji Pt. Somashekharji usually played by most of the 
Tabla players usually is full 16 matras in vilambit Laya, but the mukh of peshkar has the 
theme mentioned above. 
The full peshkar introduction consists of the following theme the body of peshkar as well as 
the tihai 
x x 
D h i - - K d a D h i n - - D h a - - D h a - D h i n - D h a - D h a - t i - D h a - t i - D h a - D h a - T i - n a - 
o x 
T a k a g i d a - n a D h a - Dhin-Dha - D h a - t i - D h a - - K d a D h a - T i - D h a - D h a - T i - n a - 
x x 
K i t a t a k a T i - n a - K i t a t a k a TinkGat ina K i n a t a k a T i r a k i t a T a k e t r a k a T i n a k i n a 
o x 
T a k a g i d a - n a D h a - T i - n a - G i d a - - n a D h a - t i - N a - g i d a - n a D h a - T i - n a - 
The theme usually does not change in the course of development. There are gradual 
changes in the body and the Tihal part of the peshkar. The development usually depends upon 
the imagination of an artist and the rules cannot bind a peshkar from an exploration. The rules 
laid down by the maestros have a definite channel that lead‘s a peshkar to finite and poetic 
Variations.The Variations of peshkar given further are referred to as badath rather than 
Paltas as the only tihai pattern changes. 
 
 
86 
 
BADATH: 
x x 
D h i - - K d a D h i n - - D h a - - D h a - D h i n - D h a - D h a - t i - Dha - ti - D h a - D h a - T i - n a - 
0 x 
T a k a g i d a - n a D h a - Dhin-Dha - D h a - t i - D h a - - K d a D h a - T i - D h a - D h a - T i - n a - 
x 0 
K i t a t a k a T i - n a - K i t a t a k a T i n G a t i n a K i n a t a k e T i r a k i t a T a k e t r a k a T i n a k i n a 
x X 
T a k a g i d a - n a D h a - T i - n a - G i d a - - n a D h a - t i - n a - g i d a - n a D h a - T i - n a - 
 
In the Variationsof the tihai‘s given above the links through which they are connected are 
more precise and thus a peshkar gets established for the given Laya. 
 The body of peshkar can also undergo changes as follows:- 
X x 
D h i - - K d a D h i n - - D h a - - D h a - D h i n - D h a - D h a - t i - Dha - ti - D h a - D h a - T i - n a - 
O x 
T a k a g i d a - n a D h a - D h i - n a - D h a - t i - D h a - k a t a Dha-dhi - N a - D h a - T i - n a - 
x x 
K i t a t a k a T i - - n a K i t a t a k a T i - - n a K i t a t a k a TinGatina K i n a t a k e T i r a k i t a 
O x 
T a k a g i d a - n a D h a - T i - n a - G i d a - n a D h a - t i - N a - g i d a - N a D h a - T i - n a - 
 
The underlined phrases have been replaced instead of DHA-Kda DHA-DHI-Na-
DHA- TI-NA-.This phrase was played byUstad. Ahmedjan Tirakwa which was later 
popularized further by its prolonged applications. 
PHRASE 2: DHA-Kda DHA-TI- DHA-DHA- TI-NA-: 
The phrase 1 resembles the phrase 2 in size and thus to be replaced in the second Variation. 
x x 
D h i s s k d a D h i n s s D h a s s D h a s D h i n s D h a s D h a s t i s Dha S ti S D h a s D h a s T i s n a s 
o x 
T a k a g i d a - n a D h a - D h i - n a - D h a - t i - D h a - k i d a D h a - t i D h a - D h a T i - n a 
x x 
K i t a t a k a T i - - n a K i t a t a k a T i - - n a K i t a t a k a TinGatina K i n a t a k e T i r a k i t a 
o x 
 
87 
 
T a k a g i d a - n a D h a - T i - n a - G i d a - n a D h a - t i - N a - g i d a - N a D h a - T i - n a - 
 
 
Palta 3: GI-NA- DHA-KIDA NAGADHIN NA-DHA- TI-NA- 
Changing phrases in the body of peshkar is a wonderful art such that the nature of the 
peshkar remains undisturbed. Only maestros of great caliber have touched this part or else 
there is various developments Palta‘s based on the development of Kayada. The rhythmic 
developments are poetic and inorder. such developments are rare to find some of them are as 
under: 
Development of peshkar on the basis of Tihai Patterns
58
 
As the peshkar spreads its wings more phrases of various variety and Laya are 
introduced.Here are some of the tihai patterns introduced so as to explore the possibilities of 
the peshkar. (Last four matras) the tihai pattern changes.He re we have Taal japtal fused into 
the tihai part of the peshkar. 
Palta 1 
 
 
58
 Learnt under Pt.H.Somashekhar of Dharwad (Guruji) 
X x 
D h i s s k d a D h i n s s D h a s s D h a s D h i n s D h a s D h a s t i s Dha S ti S D h a s D h a s T i s n a s 
o x 
T a k a g i d a - n a D h a - D h i - n a - G i - n a - D h a - k a t a Dha-dhi - N a - D h a - T i - n a - 
X x 
K i t a t a k a T i - - n a K i t a t a k a T i - - n a K i t a t a k a TinGatina K i n a t a k e T i r a k i t a 
O x 
T a k a g i d a - n a D h a - T i - n a - G i d a - n a D h a - t i - N a - g i d a - N a D h a - T i - n a - 
X x 
D h i s s k d a D h i n s s D h a s s D h a s D h i n s D h a s D h a s t i s Dha S ti S D h a s D h a s T i s n a s 
O x 
T a k a g i d a - n a D h a - D h i - n a - G i - n a - D h a - k a t a Dha-dhi - N a - D h a - T i - n a - 
X x 
K i t a t a k a T i - - n a K i t a t a k a T i - - n a K i t a t a k a TinGatina K i n a t a k e T i r a k i t a 
O x 
T a k a g i d a - n a D h a - K a t - - - D h i - n a - D h i - d h i - N a - t i - N a - d h i - D h i - n a - 
 
88 
 
The tihai patterns in the peshkar have undergone evolution from various years of 
musical existence. It is supposed to change in future too. The place and the compositional 
value of a phrase or a tihai would remain same. This entirely depends upon the given 
situation and the creativity of the artist. Only thing that remains is the body of the peshkar. 
The body of the peshkar differentiates compositions from other Gharana compositions and 
thus binds the composition to a Gharana.It is this binding that we call a composition from so 
and so Gharana. Hence the body of any composition that we study in further chapters always 
remains the same. 
 
89 
 
4.3.1 Process of creativity 
“This process of carrying forward a theme played in previous paltas indicates the 
„Concept of Inheritance”. This inheritance is the law of nature. Thus all the composition that 
we have today in Tabla (or in any other musical) field are in tune with the nature. If any of 
the composition or a Variation of a composition are not in tune with the nature we find that 
the compositions do not fall into any category and thus are grammatically incorrect.This law 
of nature flows through the consciousness of the human mind, intellect and buddhi
59
, 
whenever it finds an open and healthy mind. Thus this process leads to something called as 
creativity. Hence an artist claiming a composition to be his creativity is a sheer sign of things 
being wrongly undertood. 
Factors affecting Creativity: 
As we have a Popular saying ―Nothing can be created.It can only be Discovered
60
‖. 
Taking a deep plunge into this fact we further find various awnsers to creativity in Indian 
ancient scriptures.Creativity is the aspect of divine. The flow of divine needs an empty space. 
It cannot flow through a mind that is divided into various judgments. The mind of ‗I‘ forms 
the greatest barrier.Thus during the cource of playing a composition to a enjoyable extent an 
artist looses all his posessions and thus becomes a medium of divine expression.It is this 
moment that a creative force enables the flow of divine through an artist and thus we discover 
some new things being played that we feel are unknown to us.In an illusion that it played 
through us the human mind tried to name themselves as the creater of compositions.However 
when we have this kind of awareness about the creativity, there are instnces where we have 
seen various artists announcing themselves as the creators. This fact is for communication 
with the audience for a reason that that particular artist was aware of the fact that some 
creative things happened through him ad he was just a witness. The social circle needs a 
name and thus an artist claims to be a creater of some of the compositions. This is just for 
communication. They were already present in a different form. It is just that moment has 
brought the hidden to light in a form that a human mind can understand and feel. Thus we 
come to a point that creating a compositon is near to impossible until we have the thought of 
creation within ourself. We can definitely create the Palta‘s of a composition like Kayada, 
Rela etc. 
 
59
 Bhagwatgeeta 
60
 Albert einsteen 
 
90 
 
Palta 2
61
 
This is a Variation that was usually played by the Ustad.Ahmedjan Tirakwa. A Chatushra 
Jati phrase needs a lot of control.Here we observe that the previous phrase (GI-NA- DHA-
KIDA NAGADHIN NA-DHA- TI-NA): a 5 matra phrase is also carried forward in the Palta. 
x x 
Dhisskda DhinssDha s s D h a s DhinsDhas D h a s t i s Dha S ti S DhasDhas T i s n a s 
O x 
Takagida -naDha- Dhi -na - G i - n a - D h a - k a t a Dha-dhi- Na-Dha- T i - n a - 
x x 
Ki ta t a k T i --Kda T i n - t a - K i t t a k Tingtinakina Taketirakita Taketitatake trakatina 
O x 
Takgidana Dha t ina Dha-tirakita Takgidana D h a t i n a Dha-tirakita Takgidana Dhat ina 
 
Note the difference between the peshkar development of Delhi Gharana and 
Farukhabad Gharana. Here various tihai‘s and phrases are swapped, exchanged in order to 
create the badath. In Delhi Gharana we see the peshkar directs itself into Variations like a 
Kayada and we get a theme that is entirely based on the mukh (face) of the peshkar. 
Palta 3: 
 X 
Dhi- -Kda dh- - Dha - D h a - Dhin-Dha- Dhas t i s Dha-Dha- T i - n a - Takgida 
O x 
-naDha- Dhi-na- G i - n a - Dha-kata Dha-dhi Na-Dha-T i - n a - K i t t a k 
X x 
Ti- -Kda Tin- -ta K i t t a k TinGatinakina Taketirakita Taketraka Tinakina Takgida 
O x 
-naDha- T i - n a - Takgida -naDha- T i - n a - Takgida -naDha- T i - n a - 
 
 Here we end the development of peshkar in the style of introducing various 
tihai‘s.There are various other methods in developing a peshkar and Kayada style is a well 
known style. Below are some of the unique Palta‘s studied under the able guidance of 
Pt.Suraj Purandare, Pt.H.Somashekharji.The basic peshkar discussed as the mukh of a 
peshkar becomes the face here and there are various Palta‘s based on the mukh. 
 
61
 Learnt under guruji Pt.Ravindra yavagal 
 
91 
 
 
Palta 1: 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
o 
Ti--Kda Tin-ta- --ta- Tin-ta- Ti—kda Tin-ta- --ta- Tin-ta- 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
 
Palta 2: This is a Palta where the „bol‟s‟ are used in succession to create a circular effect.the 
khanda of 8 
matra is divided into 2+3+3 matras respectively. 
 
 Palta 3: Inheriting previous Palta phrases (circulating dhinDha „bol‟s‟) 
As we see in the development that the phrase ‗DhinDha‘ has been used once twice…. 
And thrice in the next possible Palta.Thus one Palta can give rise to other Palta.All the 
phrases of DhinDha are played in gamak style and hence the dagga is used extensively.This 
tonal quality is usually absent in Delhi Gharana phrases. 
 
 
 
 
 
 
x 
Dhi--Kda Dhin-Dha- Dha-dhin- Dha-Dha- Dhin-Dha- Dha-ti- Dha-Dha- Ti-na- 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
o 
Ti—kda Tin-ta- Ta-tin- Ta-ta- tin-ta- ta-ti- ta-ta- Tin-ta- 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
 
92 
 
 
 Palta 4: The concept of ‗Atit’ means that the phrases are played after the matra count. 
 
 
 We have chalan‘s, Rela based on ‗Atit‘ concept. There are also ‗anaGat‘ Gat,‘atit‘ 
Gat‘s that will be discussed later.Thus we see the flexibility of the Gharana where all the 
concepts of various composition have been synchronized into other compositons. The rigidity 
of the Delhi Gharana has been overcome here. 
x 
Dhi--Kda Dhi--Kda Dhin-Dha- Dhin-Dha- Dhin-Dha- Dha-ti- Dha-Dha- Ti-na- 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
o 
Ti—kda Tin-ta- Tin-ta- Tin-ta Tin-ta ta-ti- ta-ta- Tin-ta- 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
x 
--Dha- --Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
x 
Dhi—kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
o 
--ta- --ta- --ta- Tin-ta- Dha-ti- Dha-ti- Dha-Dha- Dhi-na 
x 
Dhi--Kda Dhin-Dha- --Dha- Dhin-Dha- Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
 
93 
 
4.3.2 Development of peshkar on the basis of phrases: 
A Kayada based development involves the same phrases used in the mukh of the peshkar. 
There is also a theme which introduced the phrases not existing in the mukh of the peshkar is 
introduced into the peshkar. These phrases thus resemble the theme of tans in vocal 
music.The creativity of the artist and the senses of time (Taal) are tested in such a kind of 
development in peshkar.Hence there is a need for the right kind of grammatical phrases to be 
introduced into the peshkar. 
An illustration:Palta 1 
x 
Dhi—kda Dhin-Dha- -- Dha- Dhin-Dha- 
x 
Gitagagi Tagagina62 Dha-Dha- Dhin-Dha- 
o 
Dhi—kda Dhin-Dha- -- Dha- Dhin-Dha- 
x 
Dha-ti- Dha-ti- Dha-Dha- ti-na- 
 
 
Palta 2 
 
 
 
 
62
 Usually referred to as Piegon sound by Ustad Habibuddin khan 
x 
Gitagagi Tagagina Gitagagi Tagagina 
X 
Gitagagi Tagagina Dha-Dha- Dhin-Dha- 
o 
Dhi—kda Dhin-Dha- -- Dha- Dhin-Dha- 
x 
Dha-ti- Dha-ti- Dha-Dha- ti-na- 
 
94 
 
Similarly we have many such Palta‘s dependent upon the phrase 
‗GitagGitagGina‘.One of the most important part here is that the phrase unites and registers 
its tone with the peshkar and thus can be used as a phrase for further development. There can 
be phrases that cannot register their tone and thus if played does not feel comforTabla to hear 
and hence they cannot be played. The grammar is thus important and plays a vital role in the 
peshkar. The deciding factor for using the phrases takes years of practice for an artist to 
understand. The indepth knowledge of Gharana and its nature is very important for right kind 
of phrases to be introduced in the peshkar. There is a conversion of the original peshkar of 
barabar Laya into Tishra Laya. All the phrases from the mukh of the peshkar are converted 
into Tishra jati phrases. It is this creativity that needs the grammatical approach such that the 
theme of original peshkar is not altered and we also get a new face for the peshkar with more 
interesting phrases. 
 
95 
 
4.3.3 Development of a Peshkar on the Basis of jati’s: 
Tishra Jati 
 Various phrases have been introduced till now and we experience another concept of 
developing the peshkar introducing various jati‘s
63
.The introduction of Tishra jati into the 
peshkar gives a different look to the peshkar.This peshkar was taught to me by ―Pt.Anindo 
Chatterji
64
‖ during one of his concert tour to Dharwad in the year 2003. 
Face: 
x 
Dhi--Kdadhin-Dha—Dha DhinDha Dha-Dha-dhina TiDha-Kda Dhadhina DhatiDha-Dha-tina 
x 
Takgida-naDha-dhina GinaDha-dhinagi NaDha-Kda Dhadhina DhatiDha- 
Dha-tina 
o 
Kittak tina kittak TinGatinakina 
taketirakita 
Taketita taketraa tinakina Takgida-naDhadhina 
x 
Takgida-naDha-ti-na Dha-tirakita takgida-na Dha-tina Dha-tirakita Takgida-naDha-ti-na 
As we had various phrases in the developement of the peshkar of Barabar Laya here we apply 
the same themes for the development.Here we have some of the developments based on 
introducing various phrases but in Tishra jati. 
 Palta 1: Observe the change that happens in the Palta.The Bold phrases denotes a small 
change in the Palta.There is different kind of phrases introduced in the same place in the 
Paltas further. Some of them are as under first four matras. 
Dhi--Kdadhin-Dha—Dha -Dha- 
Dhadhina 
TiDha-Kda Dhadhina DhatiDha-Dha-tina 
Dhi-Kda dhi-Kda-
dhinDha 
-Dha- 
Dhadhina 
TiDha-Kda Dhadhina DhatiDha-Dha-tina 
 
 
63
 There are various jati’s namely tiashra,Chatushra,Mishra and Sankirna. 
64
 A great Tabla exponent and disciple of Pt.Jnyan Prakash Ghosh 
 
96 
 
 Introducing tirakita phrase in the peshkar. The phrase Dha-Tirakita is an off beat
65
 
phrase. Hence we see that the flow of peshkar slightly becomes poetic and advanced 
rhythmic. 
Dhi-Kda dhinDha 
Dha-tira 
KitaDha-Kda 
Dhadhina 
TiDha-Kda Dhadhina DhatiDha-Dha-tina 
 Introducing takgidana phrases and Dha-kidaDhadhina phrases in the 6
th
, 7th matra‘s 
respectively. Notice the change in the phrase kda and Kida.The tihai pattern changes and the 
gap widens here. The peshkar here becomes 11 matra. Tihai is of 5 matra. The same tihai of 
previous Palta has been used here to make it evenly composed for 5 matra. Similarly 
depending upon the space required the tihai has to be composed. This usually happens in 
runtime on the stage. This is where the mastery of the artist is seen. 
Palta 2: 
x 
Dhi-Kda dhinDha 
Dha-tira 
KitaDha-Kda 
Dhadhina 
TiDha-Kda Dhadhina DhatiDha-Dha-tina 
x 
Takgida-naDha-
dhina 
GinaDhakidaDhadhi NaDha-kida Dhadhina DhatiDha- 
Dha-tina 
o 
Kittakti-Kda tinta KittaktinGatinakinatake Tirakitataketrakatina Takgida-naDha-
tina 
x 
Dha----- Takgida-naDha-tina Dha----- Takgida-naDha-
tina65
 A concept of anaGat Gat 
 
97 
 
4.3.4 Rhythmic phrases of khand jati in Tishra jati in peshkar: 
This Palta is the mixture of 5 matra phrase into Tishrajati peshkar. This type of development 
has been inspired by karnatic music patterns. 
Palta 3 
x 
Dhi-Kda dhinDha 
---Dha 
Tit-Dha--Kda Dha--kDha dhi-na- Dha—kDha dhi NaDha--KdaDha-tina 
x 
Takgida-naDha-dhina GinaDhakidaDhadhi NaDha-kida Dhadhina DhatiDha- 
Dha-tina 
o 
Kittakti-Kda tinta KittaktinGatinakinatake Tirakitataketrakatina Takgida-naDha-tina 
x 
Dha----- Takgida-naDha-tina Dha----- Takgida-naDha-tina 
 
Changing a phrase (introducing Traka) 
x 
Dhi-Kda dhinDha 
---Dha 
Trakadhi—na ginaDha dhina Gina Dha-KdaDha ti Dha-ti DhaDha tina 
x 
Takgida-naDha-dhina GinaDhakidaDhadhi NaDha-kida Dhadhina DhatiDha- 
Dha-tina 
o 
Kittakti-Kda tinta KittaktinGatinakinatake Tirakitataketrakatina Takgida-naDha-tina 
x 
Dha----- Takgida-naDha-tina Dha----- Takgida-naDha-tina 
 
The Variations further are countless. The theme is maintained and the Variation 
support the theme. There are various artists who have made their own theme. These themes 
are in tune with the nature of the Gharana and thus can be included in the peshkar. However 
there can be numerous themes of the peshkar as each artist has his own views that are not 
openly discussed. 
 
 
98 
 
4.3.5 A peshkar theme taught by Guruji Pt.Ravindra Yavagalji 
 As we observe here that the phrases written here are no way concerned with the 
Tishra jati theme discussed above, this theme totally changes the flow of peshkar and gives it 
a new dimension. Hence there is a link that has to be given from the peshkar of barabar Laya 
and the same linking has been illustrated here. 
 The chapter “Development of peshkar on the basis of phrases:” has been taken into 
consideration here again (Pl refer chapter on peshkar). We have different phrases that are 
added according top the theme into which the flow of peshkar changes. Here we try to play a 
Tishra jati peshkar and hence introduce the phrases that are present in the peshkar theme. 
Peshkar of barabar Laya 
X 
Dhin –traka Dhi-na- Ti-Dha- Dhi-na- 
X 
Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
O 
Tin-traka Ti-na- Tit-ta- Ti-na- 
X 
Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
 
Variation 1 
X 
Dhin –traka Dhi-na- Ti-Dha- Dhi-na- 
x 
Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
o 
Tin-traka Ti-na- Tit-ta- Ti-na- 
X 
Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
 
 The same theme of the peshkar is retained but with a different theme introducing the 
phrase ‗Traka‘. Having various phrases in Variations, we have many Variations with traka 
and finally we come to the theme phrase of Tishra jati. 
 
 
99 
 
An illustration: 
x 
Dhin –traka Dhi-na- Ti-Dha- Dhi-na- 
x 
Dha-ti- Dha-ti- Dha-Dha- Ti-na- 
o 
Dhi-trakadhi Natrakadhi NaDhati Dhatina 
x 
Trakadhina Dhitrakadhi NaDha-ti Dha-tina 
x(Khali) 
tin –traka ti-na- Ti-ta- ti-na- 
x 
ta-ti- ta-ti- ta-ta- Ti-na- 
o 
Dhi-trakadhi Natrakadhi NaDhati Dhatina 
x 
Trakadhina Dhitrakadhi NaDha-ti Dha-dhi 
 
We can have many such themes as there is lot of phrases that are Related and nearby 
the peshkar. The designing of these themes depends upon the artist‘s caliber. However there 
are traditional themes that have flowed from one generation to other and hence most of the 
Tabla players stick to the traditional themes. 
Variations including some phrases: 
x 
Dhi-trakadhi Natrakadhi NaDhati Dhagetrakadhina 
x 
Ginatrakadhina Ginadhina GGi Na-Dha-ti Dha-ti-na 
o 
Ti-trakati Natrakati Na-ta-ti- Taketrakatina 
X 
Ginatrakadhina Ginadhina GGi Na-Dha-ti Dha-dhi-na 
 
 
 
100 
 
Palta A :An introduction of Dhagetrakadhinagina phrase 
x 
Dhagetrakadhina GinaDhagetraka DhinaginaDhage trakadhinagina 
x 
Trakadhinagina Dhin-trakadhi Na-Dha-ti- Dha-ti-na 
o 
Dhagetrakadhina GinaDhagetraka DhinaginaDhage trakadhinagina 
 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
 
The evolution of various phrases in the peshkar gives more colors to the peshkar. Here we 
have a slight improvement for the phrase Dhagetrakadhinagina. 
Palta B 
x 
GinaDhagetraka DhinaginaDhage Trakadhinagina Dhagetrakadhina 
x 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
o 
Dhagetrakadhina GinaDhagetraka DhinaginaDhage trakadhinagina 
x 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
 
 A slight Variation is what makes a Palta appear different and hence the beauty of the 
Variation is more appealing. Most of the maestros stick to this kind of small development of 
the previous phrases played in the peshkar. This development has the concept of inheritance 
discussed earlier. Large developments include changing the totality of a Palta to travel into 
another Palta. Such kind of developments is largely based on the phrase based developments 
that are dependent on the theme of the Kayada. 
 
 
 
 
 
 
 
101 
 
Peshkar and Kayada: 
 The development pattern of the peshkar has brought itself to various phrases till now. 
We saw a slight change in the Palta B. We find that the phrase ‗Dhagetrakadhina‘ transforms 
itself into more elaborate phrase. 
An illustration: 
 Dhinagina (even phrase of Chatushra jati ) 
 Dhagetrakadhinagina (Even Tishra jati phrase 
 GinaDhagetraka dhinagina (Tishrajati phrase 10 syllables): 
 Most of the Palta‘s in the peshkar development on the basis of phrases and jati use 
these „bol‟s‟ so as to connect to one another. A feel comes when an artist feels that the Laya 
and the type of phrases he uses are established a sudden change in phrase creates a 
transformation of the flow of the peshkar. 
Transformation phrase (An element of surprise): 
DhiginaDhatraka DhatiDhaginati nakina 
Gina-Dhagena Dhatrakadhigina (Tishra jati phrase of 2 matra‘s) 
Dhin-trakadhi na--: is an inherited phrase from previous Palta. 
Dhigina Dha-trakaDhatiDha ginatinakina: is a transforming phrase that we use in 
future Palta‘s for linking this Kayada to a Kayada. 
Trakadhinagina Dhin-trakadhi DhinaginaDhage Dha-ti-na-: 
This phrase is a linking phrase that links the Palta to the theme of previous Palta‘s, 
mainly to the face of the Tishra jati peshkar. 
An illustration: 
Transformation phrase 1. (TP 1) 
x 
Dhin-trakadhi Na--dhigina Dha-trakaDhatiDha Ginatinakina 
x 
Trakadhinagina Dhin-trakadhi Na-Dha-ti- Dha-ti-na- 
o 
Dhagetrakadhina GinaDhagetraka DhinaginaDhage Trakadhinagina 
x 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
 
102 
 
In TP 1 we find that there are various linking phrases having these following 
meaning. 
The following Tabla contains the present theme that remains unchanged and thus enjoys its 
presence in more than one Palta‘s so as to bring a sense of change more prominent in the 
Palta‘s. 
Concept of Time 
In (Tp1) we find a hidden concept of the time. We always divide time factor into past, 
preset and future. The past phrases are inherited into the Palta‘s so as to link them into the 
future phrases. The present remains unchanged in most of the situations. The present theme 
changes only when there happens the total transformation of the past phrases and the future 
phrases. The moment when there is no past or no future there remains the present
66
. This is 
the sTabla state of being one with the existence. ―Thus the hidden meaning in the Palta‟s has 
to be found. The theme on which the Palta exist are universal and is in tune with the laws of 
this nature. If we go deep into the existence and the happenings of the Palta‟s ,compositions 
etc we find that all the compositions have hidden in them, these remarkable facts that might 
take us to a mode of total transformation ,such that we go near to our own source which is 
termed as THIS MOMENT the present one.‖ 
Transformation phrase 2. (TP 2) Introducing half part of the Kayada in to the Palta66
 Be as you are –Ramana Maharshi 
o 
Dhagetrakadhina GinaDhagetraka DhinaginaDhage Trakadhinagina 
x 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
x 
Gina-Dhagena Dhatrakadhigina Dha-trakaDhatiDha Ginatinakina 
x 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
o 
Dhagetrakadhina GinaDhagetraka DhinaginaDhage Trakadhinagina 
x 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
 
103 
 
 
In (TP 2) we introduced a part of a Kayada which suggests that in forth coming 
Palta‟s we have various phrases that will be linked to this phrase and the theme phrase from 
the Khali is retained. 
Transformation phrase 3. (TP 3): Introducing a Kayada phrase of 8 matra‘s into the peshkar. 
This is a sign that a Kayada‘s entry into the peshkar is expected into the peshkar.There is a 
sign of total transformation here from simple phrases introduced into the peshkar to a 
Kayada. This is the climax point of the peshkar. 
x 
Gina-Dhagena Dhatrakadhigina Dha-trakaDhatiDha ginatinakina 
x 
DhatrakaDha-tiDha Ginatinagina Tina-DhatiDha ginatinakina 
o 
Dhagetrakadhina GinaDhagetraka DhinaginaDhage trakadhinagina 
x 
Dhin-trakadhi Natrakadhi Na-Dha-ti- Dha-ti-na- 
 
Total transformation (TP 4): A full Kayada is played afgter a series of phrases that are 
introduced into the peshkar. 
x 
Gina-Dhagena Dhatrakadhigina Dha-trakaDhatiDha ginatinakina 
x 
Tirakittaktatirakita Gina-Dhagena DhatrakaDhatiDha ginatinakina 
o 
Kinatakena Tatrakatikina Tatrakatatita Kinatinakina 
x 
Tirakittaktatirakita Gina-Dhagena DhatrakaDhatiDha ginadhinagina 
 
 
104 
 
Variation (1) 
x 
Gina-Dhagena Dhattrakadhigena Gina-Dhagena Dhattrakadhigena 
x 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
kina-takena Tattrakatikena kina-takena Tattrakatikena 
x 
kina-takena Tattrakatikena tatrakatatita kinatinakina 
o 
Gina-Dhagena Dhatrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
Varitation (2) 
x 
Gina-Dhagena Dhattrakadhigena dhigenadhigena Dhattrakadhigena 
x 
GinaDhagena Dhatrakadhigina DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
Kina-takena tatrakatikina Tikena tikena Tatrakatikena 
x 
Kinatakena Tatrakatikena Tatrakatatita Kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
o 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
 
 
105 
 
This Palta has the phrase dhigenadhigena. This is a phrase from the mukh of the 
peshkar hence can be used as a Variation. A small Variation making the way for further 
Paltas.This Variation was played by Ustad ahmedjan tirakwa .The rearranging of dhigina 
dhigina Dhatraka dhigina also happens in coming Palta‟s. 
Variation (3): 
x 
Gina-Dhagena DhigenaDhatraka dhigenadhigena DhattrakaDhagena 
x 
GinaDhagena Dhatrakadhigina DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
Kina-takena Tatrakatikina Tikena tikena Tatrakatakena 
x 
Kinatakena Tatrakatikena Tatrakatatita Kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-Dhagina DhatrakaDhatiDha Ginadhinagina 
(Do note the difference between the „bol‟s‟ Dhagena and Dhigina. The beauty of the 
phrases just changes with a small and gradual change from Dha and dhi).The use of „bol‟s‟ 
DHAGENA and DHIGINA has a different effect each time. Whenever there are Variations 
from the phrase DHAGENA, DHI is used every second appearance of Dhagena is replaced 
with DHIGENA
67
. 
 
 
 
 
 
 
 
 
 
 
67
 Taught by Pt.vamanrao mirajkar a exponenet of Delhi and Farukhabad Gharana. Senior disciple of 
Pt.Babasaheb mirajkar. 
 
106 
 
Variation (4 and 5) 
x 
Gina-Dhagena DhigenaDhatraka dhigenadhigena Dhattrakadhigena 
x 
GinaDhatraka Dhiginadhigina DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
Kina-takena Tikinatatraka Tikena tikena Tatrakatakena 
x 
Kinatatraka Tikinatikina Tatrakatatita Kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
x 
Gina-Dhagena Dhatrakadhigina DhatrakaDhatiDha Ginatinakina 
X 
DhatrakaDhatiDha Ginatinagina Tina-DhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
Kina-takena Tatrakatikina Tatrakatatita kinatinakina 
x 
Tatrakatatita Kinatinakina Tina-tatita Kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
 
107 
 
Variation (6) 
x 
Gina-Dhagena DhatrakaDhatiDha Ginatinakina DhagenaDhatraka 
x 
DhatiDhaginati NakinaDhagena DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
kina-Dhakena Tatrakatatita kinatinakina takenatatraka 
x 
Tatitakinati Nakinatakena tatrakatatita kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
Developing the phrase DhatrakaDhagenaVariation (7) 
X 
Gina-Dhagena DhatrakaDhagena DhagenaDhagena DhatrakaDhagena 
X 
DhatrakaDhagena GinaDhagena DhatrakaDhatiDha Ginatinakina 
O 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
X 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
X 
kina-Dhakena Tatrakatakena Takenatakena tatrakatakena 
X 
Tatrakatakena kinatakena tatrakatatita kinatinakina 
O 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
X 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
 
 
108 
 
Variation (8) 
X 
DhatrakaDhagena Dhagena -Gina DhagenaDhagena DhatrakaDhatiDha 
X 
Ginatinakina DhagenaDhagena DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
Tatrakatakena Takena-kina Takenatakena tatrakatatita 
x 
kinatinakina Takena-kina tatrakatatita kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
Variations in the phrase DhatrakaDhatiDha ginatina Variation 9 
x 
DhatrakaDhagena DhatrakaDhatiDha Ginatinagina DhatrakaDhagena 
x 
Gina-Dhagena Dhatrakadhigina DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
Tatrakatakena tatrakatatita Kinatinakina tatrakatakena 
x 
Kina-takena tatrakatikena tatrakatatita kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
 
 
109 
 
Variation 10 
x 
DhatrakaDhatiDha Ginatinagina Tina-DhatiDha ginatinakina 
x 
Gina-Dhagena Dhatrakadhigina DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
xtatrakatatita kinatinakina Tina-tatita kinatinakina 
x 
Gina-Dhagena Dhatrakadhigina DhatrakaDhatiDha ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
 
Developing the phrase Tirakittaktatirakita Gin-aDhagena. 
x 
Tirakittaktatirakita Gina-Dhagena Tirakitataktatirakita Gina-Dhagena 
x 
Tirakittaktatirakita Gina-Dhagena DhatrakaDhatiDha Ginatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
x 
Tirakittaktatirakita Kina-takena Tirakitaktatirakita Kina-takena 
x 
tirakittaktatirakita Kina-takena Tatrakatatita kinatinakina 
o 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginadhinagina 
 
110 
 
 
 Tirakitataktatirakita Gina-Dhagena is played 3 three times in the above Variation. 
It is also played as tirakitataktatirakita gina-takidnag. This is a phrase of same time frame 
which is played as a Variation. 
The Variations can continue further until a point of climax. Most of the maestros have 
carved the way of making Variations in different matras starting with 8 then diminishing to 4 
and then 2 and then the concluding the Kayada in the form of a tihai. An example of such 
types of Variations is as under. All the Variations given above are of 8 matras. After these 
Variations we have Variations in 4 matras where a part of Kayada that is complete in its own 
form is taken as a face of the Kayada and then the Palta‘s are made out of it. Hence we have 
here the phrase. 
X X 
DhatrakaDhatiDha Ginatinakina 
0 X 
Tatrakatatita Ginadhinagina 
 
Some of the palta‘s are as under 
x 
x 
DhatrakaDhatiDha Ginatinakina 
0 x 
Ginadhinagina Ginatinakina 
 
x x 
DhatrakaDhatiDha Ginatinagina 
0 x 
Tina-DhatiDha Ginatinakina 
This is some of the Variations that lead to Variations of 2 for example. 
x x 
---DhatiDha Ginatinagina 
0 x 
---DhatiDha Ginatinakina 
 
 
111 
 
After the detailed Variations a common Tihai that is usually played by most of the 
artist has been discussed below. This is a 4 matra Tihai hence has been preceded by the mukh 
of the peskhar and some other successive „bol‟s‟. 
 
 
x 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
o 
Tirakitataktatirakita Gina-Dhanana Dha--takidnag tirakitataktatirakita 
x 
Gina-Dhanana Dha--takidnag tirakitataktatirakita ginaDhanana 
Most of the players have played this Kayada in a different way as given below. 
x 
Gina-Dhagena Dhattrakadhigena DhatrakaDhatiDha Ginatinakidnag 
x 
Tirakittaktirakita Gina-dhigena DhatrakaDhatiDha Ginatinakina 
o 
TinGatinakina Taketirakita Taketitatake Trakatinakidnag 
x 
Tirakittaktatirakita Gina-dhigena DhatrakaDhatiDha ginadhinagina 
Playing the other half part of the Kayada without a Khali is the theme of this the main 
theme of the mukh of the Kayada. This mukh is played without a Khali phrase i.e 
Kina-takena tatrakatakena--------------------Phrase. There are mixed views over this 
theme of the peskhar.Some of the data collected from various maestros has been listed here 
.The mukh of the peskhar was discussed with Pt.Ravindra yavagalji. Pt Lalji Gokhale a 
maestro and a disciple of Ustad Ahmedjan Tirakwa have shared his view that playing such a 
theme in a composition makes the composition as a LAAL KILA68. 
 
68
 Mentioned the interview of pt. Ravinfra yavagal and pt Ravi kudligi 
 
112 
 
4.3.7 Conclusion of Peshkar in Farukhabad Gharana: 
 
 The peshkar of Farukhabad Gharana is a unique peshkar. 
 The peshkar is so versatile that it can blend itself into a Kayada, chalan, Farshbandi 
etc.The peshkar can develop in various factors some of them are discussed in the 
peshkar chapter. Peshkar development based on the various jati‟s of the Tabla is the 
most interesting part and thus gives a more climax to the composition. 
 The possibility to blend a peshkar into many other compositions makes the peshkar of 
Farukhabad Gharana richer. The artist has to develop lot of imaginative capabilities 
inorder to become capable enough to play the peshkar and developing the peshkar on 
the basis of Farshbandi, Kayada, chalan‟s etc. 
 The treatment that is given to the peshkar thus has made the composition colourful 
and easily visible in a bunch of compositions compared to all other Gharana‟s. 
 There can be no match to the beauty of this composition as it blends into other Taal‟s 
vary easily and thus has wide applications. 
 A peshkar neatly learnt from a guru in a tradition and fused with the imagination of a 
creative artist thus is a feast to hear. All the possibilities that have been discussed in 
the peshkar chapter are to be learnt under a guru. 
 This important piece of information and the vastness have been hidden from the 
common audiences and Tabla players. This is a rare concept that is taught to the most 
devoted disciple of a guru. However I have tried to bring into light all the information 
that was availiable to me during the cource of my musical carrer and the span of the 
research 
 
 
 
 
 
 
113 
 
4.3.8 Kayada of Farukhabad gharana 
There are numerous compositions of Kayada‘s in Tabla. Farukhabad Gharana 
Kayada‘s had their own compositional value and thus are played by many of the maestro‘s 
one of them that we discussed earlier in peshkar. 
 This Kayada is the important Kayada that has the qualities of this Gharana and leads 
itself to a Rela in future. This Kayada is played by most of the maestros. It was popularized 
by ustad Ahmedjaan tirakwa. 
The mukh of the Kayada (Chatushra Jati) 
Kayada 1. In Teental Vilambit/Drut Laya. 
x 
Dha-trakadhi kitagina Dhatigina tinakina 
x 
Ta-trakati kitagina Dhatigina Dhinagina 
The theme of this Kayada is noticeable. The starting Bol of each phrase of the Kayada speaks 
thus 
Dha Ki Dha ti 
Ta Ki Dha Dhi 
Playing of theme based „bol‟s‟ leads us to a beautiful luggi. 
The Concluding phrase of each phrase in the Kayada can be lined up to for a rhythmic cycle 
(chalan) 
Dhi Na Na Na 
Ti Na Na Na 
This vision is usually hard to find as the students tend to play the Kayada as soon as possible 
because of the curious nature. The basics of this Kayada thus when studied reveals that a 
Kayada in itself contains many; phrases that can lead to smaller compositions like luggi 
chalans etc... 
Variations (Dohra)
69
 
X 
Dhatrakadhi Kitagina Dhatrakadhi kitigina 
X 
 
69
 Playing the mukh of the composition thrice. Also meaning to repeat 
 
114 
 
Dhatrakadhi Kitagina Dhatigina Tinakina 
O 
Tatrakati Kitakina Tatrakati Kitakina 
X 
Dhatrakadhi Kitagina Dhatigina dhinagina 
 
 
Palta 2. 
X 
Dhatrakadhi Kitagina Dhatigina Dhatigina 
X 
Dhatrakadhi Kitagina Dhatigina Tinakina 
O 
Tatrakati Kitakina Tatikina Tatikina 
X 
Dhatrakadhi Kitagina Dhatigina dhinagina 
Palta 3 
X 
Dhatrakadhi Kitagina Dhatrakadhi Kitagina 
X 
Dhatigina Dhinagina
70
 Dhatigina Tinakina 
O 
Tatrakati Kitakina Tatrakati Kitakina 
X 
Dhatigina Tinakina Dhatigina dhinagina 
 
 
 
 
 
 
 
 
 
 
70
 Notice the change of tinakina and dhinagina a technique of swapping phrases whenever there is a same 
phrase to be played in succession. Pt.Somashekhar Holgundi 
 
115 
 
Palta 4 & 5 
X 
Dhatrakadhi Kitagina Dhatigina Dhatigina 
X 
Dhatigina Dhatrakadhi Kitagina Tinakina 
O 
Tatrakati Kitakina Tatikina Tatikina 
X 
Dhatigina Dhatrakadhi Kitagina dhinagina 
 
x 
Dhatigina
71
 Dhatrakadhi Kitagina Dhatigina 
XDhatrakadhi Kitagina Dhatigina Tinakina 
O 
Tatikina Tatrakati Kitakina tatiGina
72
 
X 
Dhatrakadhi Kitagina Dhatigina Tinakina 
Palta 6. (Introducing pauses) 
X 
Dhatrakadhi Kita-dhi Kita-dhi Kitagina 
X 
Dhatrakadhi Kitagina Dhatigina Tinakina 
O 
Tatrakati Kitakina Tatikina Tatikina 
X 
Dhatrakadhi Kitagina Dhatigina dhinagina 
 
 
 
 
 
71
 Starting a phrase in a Variation with the ending phrase of a composition 
72
 Noticable change in the Khali of the peshkar coming back to the thali theme. Learnt from Pt.Suresh 
Talwalkar… 
 
116 
 
Tihai 
x 
Dhatra kadhi Kita gina Dhati Gina Tina kina 
x 
Dha-Dha- Dha-tina Kina Dha -Dha-Dha 
o 
Tina kina Dha-Dha- Dha--- Dhatra kadhi 
x 
Kita gina Dhati gina Tina kina Dha-Dha- 
X 
Dha-tina Kina Dha -Dha-Dha Tina kina 
x 
Dha-Dha- Dha--- Dhatra kadhi Kita gina 
o 
Dhati gina Tina kina Dha-Dha- Dha-tina 
x 
Kina Dha -Dha-Dha Tina kina Dha-Dha 
Dha--- 
 
4.3.9 Kayada Rela 1(KR 1) 
 The same Kayada turns into a Rela of a similar sounding theme containing various 
phrases. Here is a phrase by phrase illustration of how the actual conversion takes place 
Phrase equivalent Rela phrase 
Dha-traka Dha-kittak 
Dhikita dhiradhiradhira 
Gina kittak 
Dha-tigina Dhatiragidnag 
Tinakina tinakitatak 
 
117 
 
 This is the hall mark of the Kayada of farukabad Gharana such that the same Kayada 
can be converted exactly into a Rela along with all the similar Variations that can be applied 
to a Kayada. Infact there is a Rela hidden in every Kayada we need to discover it.
73
 
The same composition is being played by various maestros in the similar theme. We 
have evidences of audio recordings that suggest that the similar concept can also be used in 
accompaniment to instrumental music apart from the Tabla solo recitals. 
There is one more composition of the same pattern or theme but in Tishra jati. 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
X 
tatrakatikita kinatatikina Dhatrakadhikita ginadhinagina 
 
The same Kayada discussed earlier got converted into Tishra Kayada. 
Palta 1. (dohra) 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita GinaDhatigina 
 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginatinakina 
X 
Tatrakatikita Kinatatikina Tatrakatikita Kinatatikina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginadhinagina 
 
 
 
 
 
 
 
 
 
73
 This concept was explored by the renowned Tabla maestro of farrukabad Gharana Usatad Shaik Daood of 
hyderabad 
 
118 
 
Palta 2 
X 
Dhatrakadhikita GinaDhatigina GinaDhatigina GinaDhatigina 
X 
Dhatatrakatikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Tatrakatikita Kinatatikina Kinatatikina kinatatigina 
X 
Dhatatrakatikita GinaDhatigina Dhatrakadhikita ginadhinagina 
 
Palta 3 
X 
Dhatrakadhikita GinaDhatigina GinaDhatigina Dhatrakadhikita 
X 
Dhatatrakatikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Tatrakatikita Kinatatikina Kinatatikina tatrakatikita 
X 
Dhatatrakatikita GinaDhatigina Dhatrakadhikita ginadhinagina 
Palta 4 
X 
Dhatrakadhikita GinaDhatigina DhatiginaDhati ginaDhatigina 
X 
Dhatatrakatikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Tatrakatikita Kinatatikina Tatikinatati kinatatigina 
X 
Dhatatrakatikita GinaDhatigina Dhatrakadhikita ginadhinagina 
 
 
 
 
 
 
 
119 
 
Palta 5(introducing pauses) 
X 
Dhatrakadhikita GinaDhatigina Dha- - - Dhatrakadhikita 
X 
GinaDhatigina Dha- - - Dhatrakadhikita Ginatinakina 
O 
Tatrakatikita Kinatatikina Ta- - - Dhatrakadhikita 
X 
GinaDhatigina Dha- - - Dhatrakadhikita ginadhinagina 
Palta 6
74
 
X 
Dhatrakadhikita GinaDhatigina Dha- - Dhatraka dhikitagina 
X 
Dhatigina Dha- -Dhatra Kadhikita ginatinakina 
O 
Tatrakatikita Kinatatikina Ta- - tatraka Tikitakina 
X 
Tatigina Dha- - -Dhatra Kadhikita ginadhinagina 
Palta 7(phrase shifting) 
X 
Dhatrakadhikita GinaDhatigina Dha- - ginaDha TiginaDhatraka 
X 
DhikitaginaDha TiginaDha- - Dhatrakadhikita ginatinakina 
O 
Tatrakatikita Kinatatikina Ta- - kinata Tikinatatraka 
X 
DhikitaginaDha TiginaDha- - Dhatrakadhikita ginadhinagina 
 
 
 
 
 
74
 Traditional Paltas of pt seshgiri hangal a artist of Delhi and farrukabad Gharana disciple of pt lalji gokhale. 
Lineage of ustad munir khan 
 
120 
 
Palta 8(palatna)
75
 
X 
GinaDhatigina Dhatrakadhikita GinaDhatigina GinaDhatigina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginatinakina 
O 
Kinatatikina Tatrakatikita Kinatatikina GinaDhatigina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginadhinagina 
This one Variation can lead to various nested Variations involving the phrase 
―GinaDhatigina‖. 
Shortning a Kayada in Variations 
X 
Dhatrakadhikita Ginatinakina Tatrakadhikita ginadhinagina 
X 
Dhatrakadhikita Ginatinakina Tatrakadhikita ginadhinagina 
 
Palatna (shifting phrases) 
 
75
 An urdu word meaning swap 
O 
Ginatinakina Dhatrakadhikita Kinatinakina tatrakadhikita 
X 
Kinatinakina Tatrakadhikita Ginadhinagina Dhatrakadhikita 
X 
Dhikitaginati NakinaDhatraka Dhikitaginati nakinatatraka 
X 
Tikitakinati Nakinatatraka Dhikitaginati nakinaDhatraka 
X 
Trakadhikitagi NatinakinaDha Trakadhikitagi natinakinata 
X 
Trakatikitaki Natinakinata Trakadhikitagi natinakinaDha 
 
121 
 
 
 
Tihai
76
 
X 
Dhatrakadhikita Ginatinakina Dha- -Dhatraka Dhikitaginati 
X 
Nakinaginati NakinaDha- - Dhatrakadhikita ginatinakina 
O 
Ginatinakina Ginatinakina Dha- - - Dhatrakadhikita 
X 
Ginatinakina Dha- -Dhatraka Dhikitaginati Nakinaginati 
X 
NakinaDha- - Dhatrakadhikita ginatinakina Ginatinakina 
X 
Ginatinakina Dha- - - Dhatrakadhikita Ginatinakina 
O 
Dha- -Dhatraka Dhikitaginati Nakinaginati NakinaDha- - 
X 
Dhatrakadhikita Ginatinakina Ginatinakina ginatinkina 
 
We have a wonderful composition of similar pattern played in one of the recordings 
of ustad zakir hussain which is traditional farukabad Kayada of Tishra jati.
77
 
As discussed earlier this Kayada composition can also be called as lalkilla/ekeri Kayada
78
 as 
no Khali patterns are played. 
 
76
 A uniqueness of tihai is such that ginatinakina is played once, twice and thrice in each palla of a tihai 
77
 Ustad zakir hussain a maestro from Punjab Gharana also has taken training under ustad ahmedjan tirakwa of 
farukabad Gharana 
78
 Discussed earlier in the peshkar and Kayada chapter of farukabad Gharana 
 
122 
 
4.3.10 Kayada 2. Vilambit/Madhya Laya. Tempo:120 
X 
Dha-Dha-Dha- GinaDha-gina Dhatrakadhikita ginatinakina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita kinatinagina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginatinakina 
Palta 1 
X 
Dha-Dha-Dha- GinaDha-gina Dha-Dha-Dha- GinaDha-gina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita kinatinagina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginatinakina 
Palta 2 
X 
Dha-Dha-gina Dha-ginaDha- Dha-Dha-gina Dha-ginaDha- 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita kinatinagina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginatinakina 
 
Palta 3X 
Dha-Dha-Dha- Dha-ginaDha Dha-Dha-Dha- Dha-ginaDha 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita kinatinagina 
 
123 
 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikitaginatinakina 
 
 All the three platas and other platas that originate use the first line of the mukh of the 
Kayada till the moment comes where all the possibilities of the particular phrase is explored. 
Palta 4: Variations of the second phrase 
X 
Dha-Dha-Dha- Dha-ginaDha- GinaDha-Dha- Dha-Dha-gina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita kinatinagina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginatinakina 
Palta 5 
X 
Dha-Dha-gina Dhatrakadhikita GinaDhatigina Dha-Dha-gina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita kinatinagina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita ginatinakina 
Palta 6
79
 
X 
Dha-Dha-gina Dhatrakadhikita GinaDhatigina Dhatrakadhikita 
X 
GinaDhatigina Dha-Dha-gina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita Kinatinagina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
 
79
 Palta that was extended till 4 matras is now extended to 6 and further.. 
 
124 
 
Palta 7 
X 
Dha-Dha-Dha- GinaDha-gina Dhatrakadhikita ginatinakina 
X 
ginaDhatigina GinaDhatigina Dhatrakadhikita Ginatinakina 
O 
Kinatina-kina Ta-ta-kina Tatrakatikita kinatinagina 
X 
Dhatrakadhikita GinaDhatigina Dhatrakadhikita Ginatinakina 
 
 The development of this Kayada is phrase based and thus depends upon the 
imagination of the artist. Hence we can have a scope for developing this Kayada in any 
direction picking up the phrases and mixing them. Some of them illustrated above. 
 The beauty of this Kayada is in the bayan. The phrases ginaDhatigina and Dha-Dha-
Dha- Gina are played in gamak
80
 style. This gives a lift to the Kayada and thus the nature of 
Kayada is established.We also have similar Kayada‘s that are of the same theme but with a 
little alteration. This Kayada was taught by Dr.Rachayya Hiremath a Tabla artist and the 
senior disciple of Pt.basavraj bendigiri. 
 
80
 A style of singing involving presentation having the gambhira rasa. 
 
125 
 
4.3.11 Kayada 3. In Teental. Vilambit/Madhya Laya 
 One of the most popular Kayada of farukabad Gharana is the Kayada of Chatushra 
jati played and popularized by Ustad Ahmedjan Tirakwa. The phrases of this Kayada 
Dhagetita Dhagetraka Tinakina are the most difficult phrases. 
X 
Takadhin- - - Dhage Tirakita Dhagetraka 
X 
Dhinagina Dhagetita Dhagetraka Tinakina 
o 
Taketira Gidanag Dhingadhina GinaDhage 
x 
Tirakita Dhagetita Dhagetraka tinakina 
X 
Takatin- - - Take Tirakita Taketraka 
X 
Tinakina Taketita Taketraka Tinakina 
o 
Taketira Gidanag Dhingadhina GinaDhage 
x 
Tirakita Dhagetita Dhagetraka dhinagina 
 
This particular Kayada is also popularized in Karnataka by the Tabla maestro and my guruji 
Pt.Ravindra Yavagal. 
 
126 
 
Palta 1
81
 
X 
Takadhin- - - Dhage Tirakita Dhagetraka 
X 
Dhinagina Dhagetita Dhagetraka Tinakina 
o 
Takadhin- - - Dhage Tirakita Dhagetraka 
x 
Dhinagina Dhagetita Dhagetraka Tinakina 
X 
Takadhin- - - Dhage Tirakita Dhagetraka 
X 
Dhinagina Dhagetita Dhagetraka Tinakina 
o 
Taketira Gidanag Dhingadhina GinaDhage 
x 
Tirakita Dhagetita Dhagetraka tinakina 
Palta 2 
X 
Takadhin- - - Dhage Tirakita Takdhin 
X 
- -Dhage Tirakita Dhagetraka Tinakina 
O 
Takadhin- - - Dhage Tirakita Dhagetraka 
X 
Dhinagina Dhagetita Dhagetraka Tinakina 
X 
Takadhin- - - Dhage Tirakita Dhagetraka 
X 
Dhinagina Dhagetita Dhagetraka Tinakina 
O 
Taketira Gidanag Dhingadhina GinaDhage 
X 
Tirakita Dhagetita Dhagetraka tinakina 
 
81
 As the Kayada is long one the Kayada is illustrated without a equivalent Khali phrase. 
 
127 
 
Palta 3(Another version of the same type of the development of the above Palta) 
X 
Takadhin- - - Dhage Tirakita Takdhin 
X 
- -Dhage Tirakita Dhagetraka Tinakina 
O 
Taketira Gidanag Dhingadhina GinaDhage 
X 
Tirakita Dhagetita Dhagetraka tinakina 
Most of the players adapt to this technique which has less repeations of the mukh of the 
Kayada. 
Palta 4 
x 
Dhagetita Dhagetraka Dhingadhina GinaDha- 
X 
- -Dhage TitaDhage Trakadhinga Dhinagina 
o 
Taketira Gidanag Dhingadhina GinaDhage 
X 
Tirakita Dhagetita Dhagetraka tinakina 
Palta 5(Developing the same phrase) 
 
x 
Dhagetita Dhagetraka Dhingadhina GinaDhage 
X 
TitaDhage Trakadhinga Dhinagina Dha- - - 
o 
Taketira Gidanag Dhingadhina GinaDhage 
X 
Tirakita Dhagetita Dhagetraka tinakina 
 
128 
 
Tihai (composed by Pt.Ravindra yavagal) 
See the uniqueness of the Tihai is in the gaps that are introduced in after the DHA 
„bol‟s‟ in each Avartan
82
 of the tihai.This Tihai has to be played from the Khali in dugun for 
elaborating the gaps. This Tihai has been written in the single Tempo. There are numerous 
Kayada compositions of Kayada‘s in farukkabad Gharana hence it is usually difficult to 
explore all the possibilities of a Kayada. The dictionary of the Kayada‘s keeps on changing 
as the Kayada‘s are added by the maestros as and how their imagination springs and hence 
there is no standardization regarding the number of the Kayada‘s. The popular Kayada‘s that 
are accepted by the musical community are discussed here in order to bring the real essence 
of this Gharana. 
 
82
 One cycle of Taal is referred as one avartan. 
x 
Taketira Gidanag Dhingadhina Ginatake 
X 
Tiragida Nagadhinga Dhinagina Dha- - - 
o 
- -Dha- - - - - Dha- - - taketira 
X 
Gidnag Dhingadhina Ginatake Tiragida 
x 
nagaDhinga Dhinagina Dha- - - - -Dha- 
x 
- - - - Dha- - - Taketira Gidnag 
o 
Dhingadhina Ginatake Tiragida nagadhinga 
x 
Dhinagina Dha- - - - -Dha- - - - - 
x 
Dha 
 
129 
 
4.3.12 Kayada 4: Farukhabad Gharana 
Teental Kayada in Vilambit /Madhya Laya 
Mukh 
 
Palta 1 
Palta 2 
 
X 
DhatirakitaDha GenaDhage Tuna—Dha GenaDhage 
X 
Tunakatta DhatirakitaDha GenaDhage tunakata 
O 
Tatirakitata Kenatake Tuna- -ta Kenatake 
X 
Tunakatta DhatirakitaDha GenaDhage tunakatta 
X 
DhatirakitaDha GenaDhatira KitaDhagena Dhagetina 
X 
Kat ta kat ta DhatirakitaDha GenaDhage tunakata 
O 
Tatirakitata Kenatake Kitatagena Dhagetina 
X 
Kat ta kat ta DhatirakitaDha GenaDhage tunakatta 
X 
Ginagina Dha-Dhatira KitakDha -ginaDha- 
X 
Dha-gina DhatirakitaDha GenaDhage tunakata 
O 
Kinakina Ta-tatira Kitakta -kinata- 
X 
Ta-kina DhatirakitaDha GenaDhage tunakatta 
 
 
130 
 
Palta 3 
Cakradar Tihai 
The Variations in the above Kayada are unique. The Palta‟s 2, 3, 4, are developed using the 
pauses and the phrases came back to the theme phrase of Kayada. It is unusually poetic 
development to be learnt under a guru. 
 
X 
DhatirakitaDha GenaDha- GidnagDhatira Kittaktirakita 
X 
Dha-gina Dha-gina GenaDhage tunakata 
O 
Tatirakitata Kenata- Kidnagtatira Kittaktirakita 
X 
Ta-kina Ta-kina GenaDhage Tunakatta 
 
x 
DhatirakitaDha GenaDha- --Dhatira Kittaktirakita 
x 
Dha--- --Dhatira Kittaktirakita Dha--- 
o 
--Dhatira Kittaktirakita Dha--- DhatirakitaDha 
x 
GenaDha- --Dhatira Kittaktirakita Dha--- 
x 
--Dhatira Kittaktirakita Dha--- --Dhatira 
x 
Kittaktirakita Dha--- DhatirakitaDha GenaDha- 
o 
--Dhatira Kittaktirakita Dha--- --Dhatira 
x 
Kittaktirakita Dha--- --Dhatira Kittaktirakita 
Dha 
 
131 
 
4.3.13 Gat Kayada (GK1) in Teental Chatushra jati. 
Vilambit/Madhya 
A Gat Kayada is a type of Kayada including a part of a Gat in it. Gat is a composition 
with a definite theme and thus a Kayada witha theme of a Gat is called as Gat Kayada. 
This is a composition of Ustad Amir Hussain khanji narrated to me by Pt Vamanrao 
mirajkar of Kolhapur who is a senior disciple of Babasaheb Mirajkarji and has learnt under 
him for 18 years. 
 
Some of the artists term this type of composition as a Kayada Rela as the phrase 
DhiraDhirakitatak Tatirakitatak is a term of a Kayada. According to the evidences of the Gat 
collection taught under various maestros I feel that this Kayada has gor the inspiration from 
the following Gat narrated
83
 by Pt.Rachayya Hiremath who is one of my guruji‘s. 
 
83
 Infact the Gat was taught to me by Dr.Rachayya Hiremath a Tabla professor in university college of music 
and fine arts. 
 
x 
TakitaDha Trakadhing Dhagenati Nakdhina 
X 
Dhatrakadhi NaGatak Dhiradhirakitatak tatirakitatak 
o 
Takitata Trakating Takenati Nakadhina 
X 
Dhatrakadhi NaGatak Dhiradhirakittak tatirakitatak 
 
132 
 
Palta 1 
 
The origin of compositions and the process of happening 
This Gat is a drut Laya Gat and hence should be played in drut Laya. If played in vilambit 
Laya the Gat starts from the Khali to arrive to the sam
84
.As we can derive the similarities in 
Kayada as well as Gat the following Gat is n inspiration of the Kayada Rela mention above. 
Similarly that the following Kayada (A) can also be an inspiration for the Gat composition 
and hence in the Variation and the tihai portion this Gat becomes the tihai for Kayada 
composition.Considering both the compositions we can derive that any composition can be 
the father or the source of inspiration for composing different compositions. It is this 
improvisation in Indian music that has drawn millions in the world to our music.Thus a Tabla 
player while playing various compositions in the course of time has the knowledge of various 
compositions but has the realization of only a few compositions that inspire him such that 
some times without his knowledge new compositions get composed in the course of time. 
Sometimes it happens such that the composition is invented taking into mind some other 
compositions. We can clearly study the inspiration of one composition if we look into the 
detail soundings of such compositions. 
 
84
 The first beat of the Taal 
x 
TakitaDha Trakadhita Dhagenati Nakdhita 
X 
Dhitakata kdhinnag Dhiradhirakitatak tatirakitatak 
o 
Takitata Trakatita Takenati nakdhita 
X 
Dhitakata Kdhinag Dhiradhirakittak tatirakitatak 
x 
tak-Kda-n Dha-dhiradhira Kittaktatira Kittaktak- 
o 
Kdan-Dha- Dhiradhirakittak Tatirakitatak Tak-Kda-n 
 
133 
 
Most of the maestros who have created compositions of great value had the 
realization of the exact tone that they would get after arranging such „bol‟s‟ in a definite 
order. To name a few, Ustad Amir Hussain khan, Ustad Hazi vilayat Khan Etc. 
An illustration of Happening in music: 
 After years of practicing a composition that was played in the initial years, there is a 
different experience. Similarly when the realization of a particular composition or a small 
syllable is gained the composition has its soul in it when played. All the years before 
realization the same composition was played may be in the same Tempo and clarity but the 
thing that was missing was the consciousness of the player while playing each syllable of a 
composition. 
It is this consciousness that is the energy which is supported by the inspiration of 
other compositions that are played at different levels that give rise to new „bol‟s‟, 
compositions and thus the process of happening takes place where new combinations of the 
syllables are discovered. 
Sometimes after the new composition is discovered we might feel that it was so 
simple the syllables were already included in some of other compositions. We could have 
discovered it long ago. The answer is time has its own effect and realizations. An artist is 
compelled to leave with the same phrase for so many years only with the knowledge of the 
syllables not without the realizations. It is that moment while playing one fine day that he 
realizes something which didn‘t happen during all these years. Similarly the mind travels 
across the syllables in a definite order experiencing the stroke of each syllable and the nada 
that originates from the syllables of the compositions. The words SYLLABLES OF THE 
COMPOSITIONS is very important. This unique realization is what makes an artist play the 
same compositions n a unique style.It is collection of these realizations that Gharana‘s were 
formed along with various other beautiful compositions. 
Variation1 of Gat-Kayada (Dohra) 
x 
TakitaDha Trakadhing Dhagenati Nakdhina 
x 
TakitaDha Trakadhing Dhagenati Nakdhina 
o 
TakitaDha Trakadhing Dhagenati Nakdhina 
 
134 
 
 
Variation 2 
Variation 3 
 
Variation 4 
x 
Dhatrakadhi NaGataka 
 
Dhiradhirakittak Tatirakitatak 
X 
TakitaDha Trakadhing Dhagenati NakDha- 
X 
- -taki TaDhatraka dhitaDhage natinag 
O 
TakitaDha Trakadhing Dhagenati Nakdhina 
X 
Dhitadhita Katakdhinag Dhiradhirakittak tatirakitatak 
X 
TakitaDha Trakadhing Dhagenati nakadhita 
X 
DhitaDhage Natinakadhita DhitaDhage natinaka 
O 
TakitaDha Trakadhing Dhagenati Nakdhina 
X 
Dhitadhita Katakdhinag Dhiradhirakittak tatirakitatak 
X 
TakitaDha Trakadhing Dhagenati Nakdhita 
X 
TakitaDhatraka TakitaDhatraka Dhagenatinak Dhagenatinak 
O 
TakitaDha Trakadhing Dhagenati Nakdhina 
X 
Dhitadhita Katakdhinag Dhiradhirakittak tatirakitatak 
 
135 
 
Variation 5 
The vastness of this type of Kayada is hidden in the different Variations of the „bol‟s‟ 
contained in the mukh of the Kayada. There is scope to develop the Kayada in many spheres 
and hence there can always be many number of Palta‘s each time we play the Kayada. The 
possibilities also depend upon the imagination of the artists. 
 
X 
TakitaDha Trakadhita Dhitadhita Dagenati 
X 
Nakadhita Dhitadhita dhitaDhage natinag 
O 
TakitaDha Trakadhing Dhagenati Nakdhina 
X 
Dhitadhita Katakdhinag Dhiradhirakittak tatirakitatak 
X 
TakitaDha Trakadhita Dhagenati Nakadhita 
X 
Dhitakata Kadhi naga Dhira Dhira kitatak Ta tirakitatak 
O 
Tak kda-n Dha-dhiradhira Kittak tatira Kitatak tak- 
X 
Kda-n Dha- Dhira Dhira Kittak Tatitakitatak Tak kda-n 
Dha 
 
136 
 
4.3.15. Gat Kayada 2: Farukhabad Gharana 
Teental Kayada in Vilambit /Madhya Laya 
x 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
x 
Gidnag Dhatira Gidnag Gidnag Dhatira KitaDha Gidnag Tintak 
o 
Tira Tira 
Tira Tira 
Kidnag Tintak Tatira Kitata Kidnag Tintak 
x 
Gidnag Dhatira Gidnag Gidnag Dhatira KitaDha Gidnag Tintak 
 
There are lot of differences in the way this Kayada is played by most of the Tabla players. 
Hence depending upon the region we have different versions of the Kayada. The basic theme 
of the theme remains unchanged. One of the themes that I know have been given below. 
Theme 1 
x 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
x 
Tirakittak tira Kittak tintak Dhira Dhira Dhira 
Dhira 
Gidnag Tintak 
This is one of the most unique Rela and needs a lot of practice and control for performance. 
Ustad Sabir Khan of Farukhabad Gharana has performed this Rela with a great mastery in 
the album Drums of India.
 
137 
 
Palta 1. 
x 
Dhira Dhira 
Dhira gid 
Naga Dhira 
Dhira Dhira 
Gidnag Dha-tira Gidanag Dhintak 
x 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
o 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
x 
Gidnag Dhatira Gidnag Gidnag Dhatira KitaDha Gidnag Tintak 
 
Palta 2 
x 
Dhira Dhira 
Gida nag 
Dhira Dhira 
GidaNag 
Dhira Dhira 
Dhira Dhira 
Gidanag Dhintak 
x 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
o 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
x 
Gidnag Dhatira Gidnag Gidnag Dhatira KitaDha Gidnag Tintak 
 
 
138 
 
 
Palta 3 
x 
Dhira Dhira 
Dhira Gida 
Naga Dhira Dhira Gida Naga Dhira Dhira 
Dhira 
Gidanag Dhintak 
x 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
o 
Dhira Dhira 
Dhira Dhira 
Gidnag dhintak Dhatira kitaDha Gidanag Dhintak 
x 
Gidnag Dhatira Gidnag Gidnag Dhatira KitaDha Gidnag Tintak 
 
There are so many possibilities like these mentioned above. Most of the maestros develop 
dhiradhira phrases and there is short development for the Kayada because of the heavy 
dhiradhira „bol‟s‟. Hence the Kayada is concluded with three or five Palta‘s. 
 
 
 
 
 
139 
 
4.3.16 Conclusion of Kayada’s of Farukhabad Gharana 
 
 The Kayada‘s of Farukhabad Gharana are unique and are designed in such a way 
that there is a hidden Rela in the Kayada‘s soul. 
 A Kayada can blend into a Rela, rau and also a chalan. Depending upon the 
imagination of the artists. 
 There are hidden facts about the Kayada‘s of Farukhabad Gharana and those who 
have discovered the facts can enjoy the full beauty of the composition. Artists of great 
caliber have thus discovered the hidden Rela‘s, rau‘s and chalans through their 
constant involvement in the Kayada‘s. There may be more such hidden facts that are 
to be considered. 
 The development of the Kayada takes a different route and thus the development tend 
to move towards the Rela. 
 The Kayada‘s are of unique nature and can be easily identified in the bunch of 
compoaitions. 
 The Kayada‘s have the characteristics of Lucknow and Benares Gharana‘s and thus 
this Gharana gets inspired by most of the other Gharana‘s including Delhi Gharana 
 In one of the educational videos of Ustad Ahmedjan Tirakwa we have the instance of 
Ustadji saying that Poorab Gharana or Farukhabad Gharana is one of the complete 
and stand-alone Gharana‘s. 
 
 
140 
 
 
4.3.17 Rela of Farukhabad gharana 
Rela is a composition that is based on speed .The word Rela is inspired by the word 
‗Rail‘. This defines the nature of composition such that the Rela is composed of various 
„bol‟s‟ that are closely linked together and thus this facilitates the speed that we achieve 
while playing. This concept of closely Relating the syllables with each other is termed as 
‗Lapet‟
85
 in Farukhabad Gharana. 
 
Inspiration and origin of Rela’s: 
The inspiration of a Rela is through a Kayada. As discussed earlier we come to know that 
most of the Kayada‘s of Farukhabad Gharana turn into Rela‟s. The nature of the Kayada‘s 
is such that there is a hidden Rela in the composition. This is a unique feature of this 
Gharana. Two of the Rela‟s have been illustrated in the Kayada chapter. Let us study in 
detail how this conversion actually happens. 
The theme of the composition always makes us feel different things to different people. This 
theme is such that it inspires, adding the phrases Related to such a theme and thus gradually 
the whole composition is built .Here we have an example of such a theme and its Relative 
phrases. 
 
85
 Fred wegner 
 
 
141 
 
4.3.18 RELA: 1 IN TEENTAL VILAMBIT/MADHYA/DRUT LAYA 
x 
Takadhin -Dhage Tirakita Dhagetraka Dhinagina Dhagetita Dhagetraka tinakina 
x 
Taketira gidanaga Dhingadhina ginaDhage Tirakita Dhagetita Dhagetraka tinakina 
o 
Takadhin -Dhage Dhinatira kitaDhage Tirakita Dha-gida Nakadhin 
Tirakita 
x 
Taketira gidnag Dhintira kitaDha Tirakita Dha-gida NaGatin tirakita 
 
As we can see the conversion of a Kayada into a Rela is just because of the theme that keeps 
it humming in the background. If only the theme is considered then both the Kayada and the 
Rela appear to be almost same. The flow of both the compositions is the same but a Rela has 
a more smooth flow than a Kayada as the Rela has less limitations. 
Variations of the Rela: This Rela is one of the unique Rela‟s of the Gharana. In the course of 
developing a Rela, there comes a phase when we can have one more Mukh derived from the 
same Rela and thus we have another Rela added to the bunch of compositions. Here we study 
how this happens. Having one more compositions from a composition means nested 
compositions. These compositions are derived from a compositions while improvisation. 
Here is an illustration of how it happens … 
Dohra. Variation 1 
x 
Takadhin-Dhage DhinatirakitaDhage TirakitaDha-gida Nakadhintirakita 
x 
Takadhin-Dhage DhinatirakitaDhage TirakitaDha-gida Nakadhintirakita 
o 
Takadhin-Dhage DhinatirakitaDhage TirakitaDha-gida Nakadhintirakita 
x 
Taketiragidnag DhintirakitaDha TirakitaDha-gida NaGatintirakita 
 
 
142 
 
Variation 2 
x 
Takadhin-Dhage DhinatirakitaDhage TirakitaDha-gida Nakadhintirakita 
x 
Tirakita Dha-gida Nakadhintirakita Takadhin-Dhage DhintirakitaDhage 
o 
Tirakita Dha-gida Nakadhintirakita Tirakita Dha-gida Nakadhintirakita 
x 
Taketiragidnag DhintirakitaDha Tirakita Dha-gida NaGatintirakita 
 
Variation 3 
x 
Takadhin-Dhage DhinatirakitaDhage Tirakita Dha-gida Nakadhintirakita 
x 
Nakadhintirakita Dha-gidanakdhin Tirakita Dha-gida Nakadhintirakita 
o 
Tirakita Dha-gida Nakadhintirakita Tirakita Dha-gida Nakadhintirakita 
x 
Taketiragidnag DhintirakitaDha Tirakita Dha-gida NaGatintirakita 
 
 
143 
 
Lapet: 
 A process of shifting phrases to and fro in order to get the Variations. 
Here we swap Tirakita Dhagida Nakdhin Tirakita into Nakadhin Tirakita Dha-gida 
Nakadhin
86
. This is a unique Variation only seen and played by maestros of great caliber and 
thus needs a sense of awareness. We can have so many Variations just by shifting the phrases 
Tirakita Dhagida Nakdhin Tirakita.Some of the swapping
87
 is as follows 
Dha-gidanakadhin tirakita tirakita 
 Gidanagadhin tirakita Dha tirakita 
 Nagadhin tirakita Tirakita Dha-gida 
 Dhin tirakita Tirakita Dha-gidanaga. 
Tirakita Dha-gida nakadhin tirakita 
Using most of these phrases a Rela can be decorated with rhythmic Variations. These 
Variations are a formula that is universal in all the Rela & Kayada compositions. Having 
such a kind of the Variations introduces all the faces of a phrase in a Kayada and thus the 
Kayada is established. Once mastered this proves to be a very resourceful as the player has 
no need to find any other sources to make Palta‘s. There can be the n
88
-1 Variations of the 
phrases that we have and thus this theme of development proves to be an asset.Having 
explained these types of Variations we move to the next concept in the Variations. 
Variation 4 
X 
Takadhin-Dhage DhinatirakitaDhage Tirakitatakadhin -Dhagedhintira 
X 
KitaDhagetirakita Dha-gidanakdhin Tirakita Dha-gida Nakadhintirakita 
O 
Takadhin-Dhage DhintirakitaDhage Tirakita Dha-gida Nakadhintirakita 
X 
Taketiragidnag DhintirakitaDha Tirakita Dha-gida NaGatintirakita 
 
86
 Similar themes of phrase occurrences seen in the recordings played by maestro Ustad Amir Hussein khan… 
 
87
 Lapet in Farukhabad Gharana an illustration 
 
88
 N is an integer that denotes the number of Bol’s that contain in the phrase. Ex if we have a phrase of 5 
syllables then there can be 4 Variations of that Bol. 
 
144 
 
Variation 5 
X 
Takadhin-Dhage Dhinatirakitak Dhin-Dhagedhin TirakitaDhatira 
X 
KitaDha-gidanag DhintirakitaDhatira KitaDhagidanag Dhintirakita 
O 
Takadhin-Dhage DhintirakitaDhage Tirakita Dha-gida Nakadhintirakita 
X 
Taketiragidnag DhintirakitaDha Tirakita Dha-gida NaGatintirakita 
Variation 6 
X 
Takadhin-Dhage DhinatirakitaDha TirakitaDha-gidaNagadhintirakita 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
O 
Takadhin-Dhage DhintirakitaDhage TirakitaDha-gida Nakadhintirakita 
X 
Taketiragidnag DhintirakitaDha TirakitaDha-gida NaGatintirakita 
A Tihai of a Kayada which is similar to this Rela has been explained in the Kayada section. 
This Tihai is a composition of Pt. Ravindra yavagalji. 
 
x 
Taketirakitanaga Dhin-tirakitatake Tiragidanagadhin- TirakitaDha- - - 
x 
- -Dha- - - - - Dha - - -taketira Kidanagadhin-tira Kitataketiragida 
o 
Nagadhin-tirakita Dha- - - - - Dha- - - - -Dha - - - Taketiragidanaga 
x 
Dhin-tirakitatake Tiragidanagadhin- TirakitaDha- - - - -Dha - - - - - 
Dha 
 
 
 
145 
 
4.3.19 Rela 2: Chatushra Jati Luggi Rela 
There are various Rela that have a theme of a loggia‘s in the improvisation. Here is an 
example such a Rela. This Rela as discussed above is an extract of the previous Rela. 
x 
Dha-gidanagadhin Tirakitanakadhin Tirakita Dha-gida Nakadhintirakita 
x 
Dha-gidanagadhin Tirakitanakadhin Tirakita Dha-gida Nakadhintirakita 
o 
Ta-kidanakatin Tirakitanakatin Tirakita Dha-gida Nakadhintirakita 
x 
Dha-gidanagadhin Tirakitanakadhin Tirakita Dha-gida Nakadhintirakita 
 
Variation 1. (Dohra) 
x 
Dha-gidanagadhin Tirakitanakadhin Dha-gida nagadhin Tirakita nakadhin 
x 
Dha-gida nagadhin Tirakita nakadhin Tirakita Dha-gida Nakadhin tirakita 
o 
Ta-kidanakatin Tirakita nakatin Ta-kida nakatin Tirakita nakatin 
x 
Dha-gida nagadhin Tirakita nakadhin Tirakita Dha-gida Nakadhin tirakita 
 
Variation 2 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
O 
Ta-kidanakatin Tirakitanakatin Tirakitata-kida Nakatintirakita 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
 
 
146 
 
Variation 3 
X 
Dha-gidanagadhin Tirakitanakadhin Tirakitanakdhin TirakitaDha-gida 
x 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
O 
Ta-kidanakatin Tirakitanakatin Tirakitanakatin TirakitaDha-gida 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
Variation 4 
X 
Dha-gidaDha-gida Nakadhintirakita Dha-gidaDha-gida Nakadhintirakita 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
O 
Ta-kidata-kida Nakatintirakita Ta-kidata-kida nakatintirakita 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
Variation 5 
X 
Nakadhintirakita Dha-gidanakdhin TirakitaDha-gida nakadhintitrakita 
X 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
o 
Nakatintirakita Ta-kidanakatin Tirakitata-kida nakatintirakita 
x 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
 
 
147 
 
Variation 6(Phrase of a Kayada) 
x 
Nakadhintirakita Dha-gidanakadhin TirakitaDha-gida nakatintirakita 
x 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
o 
Nakatintirakita Ta-kidanakatin TirakitaDha-gida nakatintirakita 
x 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
Variation 7 
x 
Takadhintirakita Takatintirakita Takadhintirakita takatintirakita 
x 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
o 
Takadhintirakita Takatintirakita Takadhintirakita takatintirakita 
x 
Dha-gidanagadhin Tirakitanakadhin TirakitaDha-gida Nakadhintirakita 
 
Tihai 
x 
Takadhintirakita Takatintirakita Dha- - - - - - - takadhintirakita 
x 
Takatintirakita Dha- - - - - - - Takadhintirakita takatintirakita 
Dha 
Some of the Rela discussed here are popular Rela and are played in most of the recordings of 
the maestros. 
 
 
 
 
148 
 
4.3.20 Teental Rela 3. Vilambit/Madhya Laya 
This is a famous Rela that is performed by various artists of Tabla. This Rela has been well 
defined by Tabla maestro Ustad Karamatulla khan
89
. Some of the Tabla players have played 
a chalan for this Rela. This is an innovative way to present a chalan. 
x 
Dha tira Kita Dha Tira kita Dhira dhira 
x 
Dhira kita Tak Dha Tita kata Gadi gina 
o 
Ta tira Ta tira Ta tira Ta tira 
x 
Dhira kita Tak Dha Tita kata Gadi gina 
 
Most of the Tabla players adopt a different playing technique for playing the Phrase 
‗Dhiradhira Dhirakittak‘. It is played as ‗Giradhira Dhirakittak‟.This eases the complexity of 
the „bol‟s‟. Maestros of great caliber have played this Rela without changing the Nikhas and 
Padant. 
Dhatirakita Dhatirakita changes to Dhatirakita Dhatiraki-.Some of the Variations have 
been discussed here. 
Plata 1 
x 
Dha tira Kita Dha Tira kita Dhira dhira 
x 
Dhira kita Taka Dha Tira Kita Dhira dhira 
o 
Dhira Kita Tak Dha Tira kita Dhira dhira 
x 
Dhira kita Tak Dha Tita kata Gadi gina 
 
 
89
 A maestro from Farukhabad Gharana. Father of Tabla artist Ustad Sabir Khan 
 
149 
 
Plata 2 
x 
Dha tira Kita Dha Tira kita Dhira dhira 
x 
Dhira kita Taka Dhira Dhira Dhira Kita Tak 
o 
Dha tira Kita Dha Tira kita Dhira dhira 
x 
Dhira kita Tak Dha Tita kata Gadi gina 
 
Plata 3: Inherited Palta 2 and elonGated the Dhirdhir Phrase 
x 
Dha tira Kita Dha Tira kita Dhira dhira 
x 
Dhira kita Taka Dhira Dhira kita Tak Dhira 
o 
Dhira Kita Taka Dha Tira kita Dhira dhira 
x 
Dhira kita Tak Dha Tita kata Gadi gina 
Plata 4& 5: 
x 
Dha tira Kita Dha Tira kita Dhira dhira 
x 
Dhira kita Tak Dha Tira kita Dha Tira 
o 
kita dhir Kittak Dhira Dhira Kita Tak Dhira 
x 
Dhira Dhira kida Dha Tita kata Gadi gina 
 
 
 
150 
 
x 
Dhira Dhira Kita Tak Dhira Dhira Kita Tak 
x 
Dhira Dhira Kita Dha Tita Kata Gadi Gana 
o 
Dha tira Kita Dha Tira kita Dhira dhira 
x 
Dhira kita Tak Dha Tita kata Gadi gina 
Tihai 
x 
Dhatira Kittak Tirakita Gadigina 
x 
Dha- -- Dhatira Kittak 
o 
Dhatira Kittak Tirakita Gadigina 
x 
Dha- -- Dhatira Kittak 
x 
Dhatira Kittak Tirakita Gadigina 
x 
Dha 
 
 
151 
 
Conclusion of Rela in Farukhabad Gharana 
 The rela of Farukhabad gharana is a unique composition 
 The rela of this gharana enjoy a free environment as the composition 
can land itself into other nested rela’s and rau’s etc 
 Every rela has a chalan and thus there can be change of the flow at 
any moment of a rela 
 The tone of the rela of Farukhabad gharana has a great continuity. The 
ambience becomes medidative and this stillness that a rela enjoys is 
ultimate. 
 A Kayada gets converted into a rela 
 A chalan gets converted into a rela 
 A rela can include a rau in itself 
 A rela has a definite path that is almost similar to a Kayada. The 
rigidity of the rules of improvisation of a Kayada do not apply to the rela 
 A rela of this gharana can enter at any moment in a tabla solo recital 
after playing a peshkar. 
 Rela’s of this gharana have been enjoying a great priority and hence 
the tabla players of other gharana’s are also attracted to the quality of 
the rela this gharana has. 
 Most of the rela’s are easily transferable to other taal’s and the quality 
is not lost. 
 Rela’s are useful composition in the accompaniment to the vocal and 
instrumental music. 
 Farukhabad gharana has a large collection of the rela’s and thus every 
composition of a Kayada is rela based. 
 
 
 
152 
 
4.4 Rau and Chalan 
Rela is like an opening door to two more compositions Chalan and 
Rau. One of the compositions has been discussed here in a detailed improvisation along with 
a chalan that is played before launching a Rau. A Gat also is played before the chalan and 
thus the rau is established. This has been practically well performed by Ustad Ahmedjan 
Tirakwa. 
Chalan: 1 Teental Chatushra Jati 
x 
Dha-tiDha -DhatinaTa-tita -Dhadhina 
x 
Dha-tiDha -Dhatina Ta-tita -Dhadhina 
 
 
Rau: 
This Rela like structure is a different structure and hence is called as Rau. This 
composition is 4 times speed of the basic chalan. It has more „bol‟s‟ as compared to the 
chalan. The basic difference between the Rela and Rau is such that the Rau has comparatively 
more „bol‟s‟
90
 and is derived from the chalan that is played before playing Rau. There is a 
chalan for any Rau that is played in single speed and the Rau is played with a small Uthan 
„bol‟s‟. The speed and the groove of a Rau makes it most interesting part to enjoy for a 
laymen. 
 
90
 Conversation with Pt.Anand Badamikar from Farukhabad Gharana 
x 
Dha-Dhatira Kitataktirakita 
Dhatirakitatak 
Dhatirakitatak 
tirakitaDhatira 
Kitataktirakita 
Dhatirakitatak 
x 
Ta-titira Kitataktirakita tatirakitatak Dhatirakitatak 
tirakitaDhatira 
Kitataktirakita 
Dhatirakitatak 
o 
Dha-Dhatira Kitataktirakita 
Dhatirakitatak 
Dhatirakitatak 
tirakitaDhatira 
Kitataktirakita 
Dhatirakitatak 
 
153 
 
 
Facts about Rau 
A rela has a phrase Tinakittak or Dhinakittak as the ending phrases most of the time. Rau has 
no such limitations. A Rela has some limitations where are Rau has no limitations.A Rau may 
be developed like a Kayada, Rela, chalan, Gats and Cakradar can also be introduced in a 
Rau.A Rela is an inspiration for Rau. A Kayada is a an inspiration for Rela. 
4.4.1 Rau: 1 Chalan based Rau in Chatushra Jati 
This rela is also played in different styles as under. 
 
Tirakita and Takita are different phrases that are introduced into the Rela by most of 
the maestros. Dhatirakitataktakita can also be played as Dhatiragidanag
91
.Taking into 
consideration all these phrases. A Rela is played in sequence along with Gat‘s and Tukda.A 
chalan has been the soul of most of the compositions. The groove concept in western music is 
what we call chalan in Indian classical music. The direction in which a rhythm flows is called 
as Chalan. We have lot of chalans and discussing them would be a herculean task. A chalan is 
an imagination of an artist. Hence any artist would have his own bunch of creations. However 
 
91
 This phrase has been introduced frequently by Ustad Nizamuddin khan in most of the performances. 
x 
Ta-titira Kitataktirakita tatirakitatak Dhatirakitatak 
tirakitaDhatira 
Kitataktirakita 
Dhatirakitatak 
x 
Dha-Dhatira Kitataktakita 
Dhatirakitatak 
Dhatirakitatak takitaDhatira Kitataktakita Dhatirakitatak 
x 
Ta-titira Kitataktakita 
Dhatirakitatak 
Dhatirakitatak takitaDhatira Kitataktakita Dhatirakitatak 
o 
Dha-Dhatira Kitataktakita 
Dhatirakitatak 
Dhatirakitatak takitaDhatira Kitataktakita Dhatirakitatak 
x 
Ta-titira Kitataktakita 
Dhatirakitatak 
Dhatirakitatak takitaDhatira Kitataktakita 
Dhatirakitatak 
 
154 
 
there are some traditional chalans. All the created chalans are created on the basis of such 
traditional chalans. One such chalan is very popular and has been well performed by various 
artists. 
Purab- Farukabadi Chalan 2 in Teental 
 
4.4.2 Purab- Farukabadi Rau 2 in Teental 
x 
Dhina gina Taka dhinga Nati Gina Dhina gina 
x 
Gitagagi Tatagadhinga Dhinagina Dhagetita 
x 
Kddhetita Gitagagi TaGatinga Tinakina 
o 
Kitaka ki Taka tiga Tina kina Dhage tita 
 
Kaddhe tita Gitaga gi Taga tinga Dhina gina 
x 
Dhina gina Taka dhinga Nati Gina Dhina gina 
x 
Dhati gina Dhina gina Taka tinga natikina 
o 
Tina kina Taka tinga Nati Kina Dhina gina 
x 
Dhati gina Dhina gina Taka dhinga natikina 
 
155 
 
x 
Dhati gina Dhina gina Taka tinga natikina 
o 
Tina kina Taka tinga Nati Kina Dhina gina 
x 
Dhati gina Dhina gina Taka dhinga natikina 
 
The playing styles of playing such a rau has to be learnt under the able guidance of guru. There is a 
smell of Lucknow Gharana‘s dance „bol‟s‟ in this particular chalan and Rau. 
Palta 1. 
x 
Dhina gina Taka dhinga Nati Gina Nati Gina 
x 
Dhina gina Taka dhinga Nati Gina Nati Gina 
o 
Dhina gina Taka dhinga Nati Gina Dhina gina 
x 
Dhati gina Dhina gina Taka tinga natikina 
Palta 2 
x 
Dhina gina Taka dhinga Nati Gina Taka dhinga 
x 
Nati Gina Dhina Gina Taka dhinga Nati Gina 
o 
Dhina gina Taka dhinga Nati Gina Dhina gina 
x 
Dhati gina Dhina gina Taka tinga natikina 
 
Palta 3 
x 
Dhati Gina Taka Dhinga Nati Gina Nati Gina 
x 
 
156 
 
Dhati Gina Taka Dhinga Nati Gina Nati Gina 
o 
Dhina gina Taka dhinga Nati Gina Dhina gina 
x 
Dhati gina Dhina gina Taka tinga Nati kina 
Palta 4 
x 
Dhina Gina Dhati Gina Dhina Gina Dhina gina 
x 
Dhati Gina Dhati Gina Taka Dhina Nati Gina 
o 
Dhina gina Taka dhinga Nati Gina Dhina gina 
x 
Dhati gina Dhina gina Taka tinga Nati kina 
 
157 
 
 
Palta 5 
x 
Dhina Gina Taka Dhina Dhati Gina Dhati Gina 
x 
Dhina Gina Taka Dhina Dhati Gina Dhati Gina 
o 
Tina kina Taka tina Tati kina Tati kina 
x 
Dhina Gina Taka Dhina Dhati Gina Dhati Gina 
Tihai 
x 
Dhina Gina Dhati Gina Taka Dhina Dhati Gina 
x 
Dha--- Dhinagina Dhinagina Dhati Gina 
o 
Taka Dhina Dhati Gina Dha--- Dhina Gina 
x 
Dhina Gina Dhati Gina Taka Dhina Nati Gina 
Dha 
 
This chalan has been played by the performers of Farukhabad and Lucknow Gharana‘s. 
 
158 
 
4.4.3. Rau: 3 Chalan based Rau in Chatushra Jati 
There is an extract of a Rela from a chalan and also some of the similar phrases and hence it 
is explained here with an illustration. The chalan of the Rela is.: 
x 
Dha-tira Gidanag Takatinga tinakina 
x 
ta-tira Kidanag Takadhinga dhinagina 
Rela 
X 
Dha-tira Gidanag Takatin Tirakita 
x 
Ta-tira Kidanag Takadhin tirakita 
This Rela has been played by most of the players and has been well defined by the maestro 
Ustad Ahmedjan Tirakwa. 
Variation 1 
x 
Dhatiragidnag Dhatiragidnag Taktintirakita Dhatiragidnag 
x 
Dhatiragidnag Taktintirakita Dhatiragidanag taktintirakita 
o 
Tatirakidnag Tatirakidnag Taktintirakita Dhatiragidnag 
x 
Dhatiragidnag Taktintirakita Dhatiragidanag taktintirakita 
Variation 2 
x 
Dhatiragidnag Taktintirakita Dhatiragidnag Dhatiragidnag 
x 
Taktintirakita Dhatiragidnag Dhatiragidanag taktintirakita 
o 
Tatirakidnag Taktintirakita Tatirakidnag tatiragidanag 
x 
Takdhintirakita Dhatiragidnag Dhatiragidnag Takdhintirakita 
 
159 
 
Variation 3 
x 
Dhatiragidnag Dhatiragidnag Dhatiragidnag Dhatiragidnag 
x 
Taktintirakita Dhatiragidnag Dhatiragidanag taktintirakita 
o 
Tatirakidnag Tatirakidnag Tatirakidnga tatirakidnag 
x 
Taktintirakita Dhatiragidnag Dhatiragidnag takdhintirakita 
Variation 4 
x 
Dhatiragidnag Takdhintirakita Nagtakdhintira kitaDhatirakita 
x 
Dha-tiragidnga Takdhintirakita Dha-tiragidnag taktintirakita 
o 
tatirakidnag Taktintirakita Naktaktintira kitaDhatirakita 
x 
Dha-tiragidnag Takdhintirakita Dha-tiragidnag taktintirakita 
Variation 5 
x 
Dhatiragidnag Dhatiragidnag Dhatiragidnag Dhatiragidnag 
x 
Taktintirakita Dhatiragidnag Dhatiragidanag taktintirakita 
o 
Tatirakidnag Tatirakidnag Tatirakidnga tatirakidnag 
x 
Taktintirakita Dhatiragidnag Dhatiragidnag takdhintirakita 
 
 
160 
 
Variation 6 
x 
Takdhintirakita taktintirakita Takdhintirakita taktintirakita 
x 
Dha-tiragidnag Takdhintirakita Dha-tiragidnag taktintirakita 
o 
Taktintirakita Taktintirakita Taktintirakita Taktintirakita 
x 
Dha-tiragidnag Takdhintirakita Dha-tiragidnag taktintirakita 
Tihai 
x 
Takdhintirakita Taktintirakita Dha- - - Takdhintirakita 
x 
Taktintirakita Dha- - - Takdhintirakita taktintirakita 
Dha 
 
 
 
161 
 
4.5 RELA AND RAU: 
 
A Rela of Farukhabad Gharana is a unique system ofimprovisation and hence the Gharana 
has been the store house of the Relas. We also have the recordings of the Rela‘s played by the 
Khalifa Ustad karamatulla khan
92
.There is a difference between a Rela and a Chalan or a 
RAU
93
. 
The demonstration can be done practically but here is a theoretical demonstration. 
A chalan Dha-TiDha -Dhatina ta-tita –Dhadhina Dha-tiDha -Dhatina ta-tita –Dhadhina 
A Rela extracted from the theme of the chalan. 
 
 
The Rela that is written here has no ending phrase and hence most of the players do not admit 
this as a Rela and hence it is called as a RAU. There are parts of the Rela but the RAU has no 
ending phras. A Rela expects a phrase such as tinakitatak or dhinakitatak
94
.A Rela is an 
example of an extract from a Kayada. As we study further the Rela and RAU patterns we 
come to know some of the astonishing facts. 
 
 
92
 A maestro from Farukhabad Gharana 
93
 A kind of a Rela depending on the chalan played and resembles the theme of a chalan. 
94
 In one of the recordings of a Tabla player it is stated that if the phrase ends with ex Tinakina phrase then it 
can be called as a Kayada. Similarly a Rela will contain a phrase Tinakittak phrase as an ending phrase. (Pt. 
Suresh talwalkar.) 
x 
Dha-
Dhatira 
Kitataktirakita Dhatirakitatak Dhatirakitatak tirakitaDhatira Kitataktirakita 
Dhatirakitatak 
x 
Ta-
titira 
Kitataktiraki tatatirakitatak Dhatirakitataktira kitaDhatira Kitataktirakita 
Dhatirakitatak 
o 
Dha-
Dhatira 
Kitataktirakita Dhatirakitatak Dhatirakitatak tirakitaDhatira Kitataktirakita 
Dhatirakitatak 
x 
Ta-
titira 
Kitataktirakita tatirakitatak Dhatirakitatak tirakitaDhatira Kitataktirakita 
Dhatirakitatak 
 
162 
 
Here is an illustration.This is a very well-known chalan that enfolds itself into a RAU. This 
chalan has many improvisations that are played my most of the artists.A RAU of the above 
chalan is as follows: 
 
This Rela has been played by almost all the artist but is well defined by the legendry Tabla 
player Ustad Amir Hussain Khan. The Variations done by the maestro are very poetic and 
hence we have here the same Variations played by the maestro. 
x 
Dha- -dhintira GidnagtirakitaDhatiraki
tatak 
Dhatiragidnagtiraitadh
intira 
gidanagtirakitaDhatirak
itatak 
x 
Dhatiragidnagtiraitadh
intira 
gidanagtirakitaDhatirak
itatak 
Dhatiragidnagtiraitadh
intira 
gidanagtirakitaDhatirak
itatak 
--Khali 
Variation 2 
X 
Dha- -
dhintira 
Gidnagtirakita 
Dhatirakitatak 
Dhintiragidnag 
tirakitaDhatira 
Gidanagtirakita 
Dhatirakitatak 
X 
Dha- -
dhintira 
Gidanagtirakita 
Dhatirakitatak 
Dhatiragidnagtiraitadhintira Gidanagtirakita 
Dhatirakitatak 
 
x 
Dha- -dhi Tata Dha-ti DhaDha Gati NGata tati 
x 
Ta- -ti Tata Ta-ti Dhana Gati NGata tati 
o 
Dha- -
dhintira 
GidnagtirakitaDhatirakitatak Dhatiragidnagtirakitadhintira gidanagtirakitaDhatirakitatak 
x 
Ta- -
tintira 
Kidanagtirakitatatirakitatak Dhatiragidanagtirakitadhintira GidanagtirakitaDhatirakitatak. 
 
 
163 
 
4.5.1 RELA RAU and Phrases: 
Developing a RAU in the form of phrases is a traditional style of playing and hence it 
is important to study the ways how it can be develop.Here are some of the phrases that are 
introduced in the chalan‘s and hence the equivalent phrases have to be used in the Rela‘s etc. 
x 
Dha- -dhi Tata Dha-ti DhaDha Gati NGati nati 
x 
Ta- -ti Tatata-ti DhaDha gadhi ngadhinati 
 
x 
Dhana 
nadhi 
TataDha-ti DhaDha Gati nGatinati 
x 
Tana nati Tatata-ti Dhanagadhi ngadhinati 
 
x 
Dhagenadhi TataDha-ti DhaDha Gati nGatinati 
x 
Takenati Tatata-ti Dhanagadhi ngadhinati 
Dhagena to be played as Dha-gidnag. 
x 
Dha- -dhi TataDha-ti DhitaDhaDha tidhitata 
x 
Dhagenadhi TataDha-ti DhaDha Gati nGatinati 
 
x 
Dhatigadhi TataDhati DhitataDha tidhitata 
x 
Dhagenadhi TataDha-ti DhaDha Gati nGatinati 
 
 
164 
 
These are some of the commonly played phrases of the Farukhabad Gharana. Some 
of the rare phrases have been played by the Tabla maestro Pt. Seshgiri Hangalji
95
.The same 
chalan
96
 has been played in the different style. 
x 
Dha-kata Gadhikita DhatiDhati GatinGati 
x 
Ta-kata Katikita DhatiDhati gadhinGati 
RAU 
x 
Dha-katak -Dhintirakitatak tirakita Dhatirakitatak 
Dhatirakitatak 
Tirakitatintira kitataktirakita 
X 
Ta-katak Tintirakitatak tirakita Dhatirakitatak 
Dhatirakitatak 
Tirakitadhintira 
gidanagtirakita 
 
Pt.Seshgiri Hangal’s Thoughts on Rau and Rela 
TakTak phrases have been introduced in this chalan and RAU. 
x 
Dha-taktak -dhikita DhatiDhati GatinGati 
x 
Ta-taktak -tikita DhatiDhati gadhinGati 
 
x 
Dha-taktak -Dhintirakita taktirakita Dhatirakita 
takDhatirakitatak 
Tirakitatintira kitataktirakita 
x 
Ta-katak -Tintirakita taktirakita Dhatirakitatak 
Dhatirakitatak 
Tirakitadhintira 
gidanagtirakita 
Chalan Variations 
 
95
 A disciple of Pt.Lalji gokhale from the lineage of ustad ahmedjantirakwa. 
96
 This Rela has been well performed by the Tabla maestro Pt. Suraj Purandare a disciple of Pt.Seshgiri Hangal 
 
165 
 
x 
Dha-taktak -dhikita Dha-taktak -dikita 
x 
Dha-taktak -dhikita DhatiDhati GatinGati 
 
The same chalan sometimes is also played as 
x 
Dha-katak -dhikita DhatiDhati GatinGati 
x 
Ta-katak -tikita DhatiDhati GadhinGati 
 
The RAU of the chalan takes the form of the chalan as its soul with the different 
„bol‟s‟ and hence a Tabla player of great caliber immediately identifies the atman
97
 of the 
RAU. This identification shows the hidden talent of the artist. 
4.5.2 Spirituality hidden in Rela & Rau 
―The art of Tabla or say music is closely Related to spirituality. There is no difference 
between music and spirituality.
98
The reality is always hidden like the chalan hidden in the 
RAU and hence something other than the real is projected by the mind. This reality thus has 
to be understood like a skilled Tabla player who identifies the hidden chalan of a projected 
Rela. This process of identifying the real meaning of the things is known as Chakshumati 
vidya.
99
The spiritual aspirants are in the same process of seeing the reality behind the things 
and thus a Tabla player also the one who sees the origin of a composition and understands 
the reality of the composition” 
 The concept of „RAU‟ in the course of time got new dimensions in the Tabla solo 
field. Thanks to the contributions of great maestros like Ustad Shaik Daood of Hyderabad, 
Ustad nizamuddin khan, Ustad Amir Husain Khan and Ustad Ahmedjan tirakwa. Studying 
each of these artists‘ Tabla solo recitals we come to know any composition even a ‗Tekha
100
‘ 
of a Taal can also be converted to a RAU. 
 
97
 soul 
98
 Quoted by pt shivkumar Sharma a great santoor maestro 
99
 Osho’s quotes the process of seeing the real and truth. 
100
 A rhythmic structure of a Taal defined by various syllables of Tabla 
 
166 
 
4.5.3 Taal and Rau 
Here is a demonstration of most of the Tekha of the Taal and their respective RAU‟s.Taal 
Teental and RAU: 
X 
Dha Dhin Dhin Dha 
X 
Dha Dhin Dhin Dha 
O 
Dha Tin Tin Ta 
X 
Ta Dhin Dhin Dha 
 
X 
Dhatiragidnag Dhintiragidnag Dhintiragidnag Dhatiragidnag 
X 
Dhatiragidnag Dhintiragidnag Dhintiragidnag Dhatiragidnag 
O 
Dhatiragidnag Tintirakidnag Tintirakidnag Tatirakittak 
X 
Tatiragidnag Dhintiragidnag Dhintiragidnag Dhatiragidnag 
Taal Ropak and RAU 
o x x 
Tin Tin Na Dhi Na Dhi Na 
 
o x x 
Tintirkitata
k 
Tintirakitta
k 
Tatirakita
k 
Dhintirakitta
k 
Natirakitata
k 
Dhintirakitata
k 
natirakitata
k 
 
 
167 
 
Taal Japtal and RAU 
X x 
Dhi Na Dhi Dhi na 
O x 
Ti Na Dhi Dhina 
 
X x 
Dhintirakittak Natirakittak Dhintirakittak Dhintirakittak natirakittak 
O x 
Tintirakittak Natirakittak Dhintirakittak Dhintirakittak natirakittak 
 
Most of the maestros opt to play such a style of RAU while playing the Gats and the Tukda 
during the ending part of the Tabla solo recital. Instead of playing a Tekha a RAU is played. 
This style enhances the style of playing and brings the thrill of the solo recital. 
x X 
Dha- - Dhintirakita Dhatirakita dhintirakita 
x X 
Dha-Dha Tirakittak Dhatirakita Tintirakita 
O 
Ta- - Tintirakita Tatirakita Tintirakita 
X 
Dha-Dha Tirakittak Dhatirakita dhintirakita 
 
A phrase of Dhira Dhira is also introduced in this RAU as follows: 
x X 
Dha- - dhiradhirakita Dhatirakita dhintirakita 
x X 
Dha-Dha Tirakittak Dhatirakita Tintirakita 
O 
Ta- - tiratirakita Tatirakita Tintirakita 
X 
Dha-Dha Tirakittak Dhatirakita dhintirakita 
 
168 
 
 
Considering all these opinions and the recordings of the compositions a RAU now a 
day has become an important factor of Tabla solo. A RAU creates an environment similar to 
Rela but has no boundaries unlike a Rela. 
 A RAU may also be played in the accompaniment and thus has lot of applications. 
Farukhabad Gharana is well known for such RAU‘s and chalan‘s and thus the collections of 
all such concepts make this Gharana a great treasure house of the compositions. 
 
169 
 
4.6 Gats of Delhi and Farukhabad Gharana 
Since we studied the Kayada factor of Delhi Gharana there is a lot of collection of 
Kayada‟s in Delhi Gharana. Prime importance is given to the Kayada in Delhi Gharana. 
There is very less evidence of Gat‟s in Delhi Gharana and hence there is less scope to 
elaborate the facts of the Gat‟s. Hence we include only the Gat‟s of Farukhabad Gharana as 
there is a huge collection of Gat‟s in the Gharana. We get varieties of the Gat‟s for study 
purpose. Most of the Gat‟s are to be learnt under a master as the Gat‟s are tone and fingering 
specific. However some popular Gat‟s have been taken for study just to see the variety, 
nature and vastness of the compositions. 
Gats are stand-alone compositions and there is no development in the Gat‟s
101
. Hence 
a detailed study of how and on which theme, the Gat‟s were composed has been studied in 
detailed. There are differences of opinion among the maestros about the compositions. To 
bring a kind of awareness about the Gharana‘s and their compositions a telephonic 
conversations with pt. anand badamikar a Tabla player from South India representing 
Farukhabad Gharana brought into light the facts about some of the compositions. 
 In ancient days there was no instant mode of communication. Hence the Tabla 
players gave a lot of importance to the place where they lived. They used to take the name of 
the place where they lived, whenever they used to perform in some other cities and hence a 
compositions played by a Tabla player of a single Gharana remained confined to those areas. 
These compositions could not be exchanged between lots of people and hence this proved to 
be one of the great way for categorisation of compositions. The disadvantage of 
communication of ancient days has proved to be a boon today as we have large number of 
compositions and hence because of the rigidity of rules of our old maestros we have today so 
many compositions at can be categorised according to the Gharana's. 
Today we have instant mode of communication and hence we find that there is lot of 
scope to discuss the fact about the compositions but unfortunately due to lack of media 
support we have lost lot of valuable compositions that the maestros used to play a century 
ago. There was lack of availability of visual recordings and hence this proved to be a great 
loss. Even though we have ample amount of recordings that prove the facts about the quality 
of Tabla played by our ancient maestros. 
 
101
 There are some Gat’s with development known as Vistar-PraDhan Gat’s 
 
170 
 
Today we listen to the playing of most of the players of all Gharana‘s and hence we 
have accessibility to various Gharana and their compositions. Because the compositions are 
easily accessible a player tries to put his creativity into the compositions and we get newer 
versions of the composition that was confined to the place. Because of over exposure the 
changed composition sometimes becomes a subject of criticism and hence we find lot of 
differences of opinion about some of the compositions. 
However I have made a sincere effort to bridge the gap because of which these 
differences occur. Tabla playing in Lucknow, farrukhabad & Banaras Gharanas is 
similar.The techniques in general ways which are used in all the Gharanas of Purab Baj & in 
Punjab Gharana too. Despite similar techniques, all have their own unique signature patterns. 
One traditional Tabla maestro of Lucknow Gharana claims copy right of Gat . The first two 
phrases of the Gat are inspired by a Kayada of Farukhabad Gharana (not discussed in 
research). All the „bol‟s‟ in the Gat are in Chatushra Jati. The Tihai portion has no Dha Bol. 
There are few instances of Rela phrases in the composition and hence we see the blend of the 
compositions in the Gat. There is a definite direction 
102
in the Gat. The concluding phrases of 
the Gat are played as 
 Dhirdhirkittak tatirakittak tagin. 
 This is the Nikhas
103
 of the Bol. It is popularised by the legendary Tabla player Ustad 
nizamuddin khan. 
 
102 Gati 
103 Actual style of playing which is different from the actual words. 
 
171 
 
 
4.6.1 Gat 1. Farukhabad Gharana. Tempo 120/240. 
x 
Dhingida Nagadhina Dhagetraka Tinakina 
x 
TakitaDha Trakadhina Dhagetrak Tinakina 
o 
DinaDhage Trakadhina Dhagetraka Dhinagina 
x 
Dhingadhina Ginadhina TakitaDha -nakat 
x 
Dhirdhirkittak Tatirakittak Ta-- Kittak 
x 
Tirakita Takata Tirakita Takata 
O 
Dhirdhirkittak Tatirakittak Tatirakittak Dhirdhirkittak 
x 
Tatirakittak Tatirakittak Dhirdhirkittak Tatirakittak 
x 
Ta 
 
 
172 
 
4.6.2 Gat 2 
The next Gat surprises the listeners by not arriving on Sam as it ends on the Khali (9th) 
matra. 
x 
Dhage Tita Gida-na -na 
x 
Dhina Gina Dhage Traka 
o 
Tuna Kata Tita Kita 
x 
Gina Gata Kita Dhina 
x 
Dhage Tita Gida -na 
x 
Dhina Gina Dhage Traka 
o 
Tuna Kat- Dhirdhir Kittak 
x 
Tatira Kittak Ta- Dhirdhir 
x 
Kittak Tatira Kittak Ta- 
x 
Dhirdhir Kittak Tatira Kittak 
o 
Dha Tin Tin Ta 
 
173 
 
x 
Ta Dhin Dhin Dha 
x 
Dha 
This Asam Gat is a Cakradar but Ustad nizamuddin khan has played the same 
intentionally on the Khali. This shows how near the Tabla players used to get, knowing each 
bit of the Gat where it ends ,how to use the same Cakradar as a Gat and other minute things 
about the composition. This aspect of thoroughly studying has been missing now a days as 
the curiosity to play the composition as soon as possible makes the player unaware to think 
about the minute things. There may be instances where a Tabla player knows about some 
facts about the compositions that he himself is playing after years of performing on the stage. 
The fact that he understands may be a simple fact but the realisation is great. 
 
174 
 
4.6.3 Gat 3. Taal Teental. Farukhabad Gharana. Tempo 120 
Chatushra Jati 
 
There is another Gat in Chatushra Jati ending on the seventh matra. The approach is 
stunning and thus the composers understanding has to be encouraged. The Gat has parts of 
Kayada, Rela and a Tihai. The same Tukda becomes a Tukda for various other Tal. The Gat 
ends on 39
th
 matra hence can be used as a Gat in jai Tal (13) matra. The Gat can be played in 
Japtal with a half matra gap in the Tihai section.The Gat can beplayed in Drut Teental for 5 
rounds. 
x 
Dhingnana Kitadhinga Nanakita Dhinagina 
x 
Nagadhinga Nanagina Dhatirkittak TirakitaDhatira 
o 
Kittaktirakita Ginagta Kitadhina Dhagetita 
x 
Gina-na Dhinagina Dhagetraka Tinakat- 
x 
Dhirdhirkittak Tatirakittak Dhirdhirkittak Tatirakittak 
x 
Dhi--ge ---nta Dha--- --dhirdhir 
o 
Kittaktatira Kittakdhirdhir Kittaktatira Kittak 
x 
 
175 
 
Dhi--ge ---nta Dha--- --dhirdhir 
x 
Kittaktatira Kittakdhirdhir Kittaktatira kittak 
x 
Dhi--ge ---nta Dha--- Dhi-na 
o 
Dha Tin Tin Ta 
x 
Ta Dhin Dhin Dha 
 
 
176 
 
4.6.4 Gat 4: 
Taal Teental. Tempo -120 
Do-Mui Gat Teental Farukhabad Gharana 
Drut Lay: 
The Gat written here is a 28 matra Gat when played in Drut Lay, it doubles itself into 56 matras.(7 
avartans). This is one of the unique Gats of Farukhabad Gharana. The face and tail of the 
Gat are one. The Gat starts with a same phrase and ends on the same. This theme is thus 
known as ‗Do-Mui Gat
104
‘: a Gat having two similar faces. 
x 
Dhage Takita Dhatirakittak Tak-dhiradhira Kittak takita 
x 
Di- - - Tak-ti- -ti- -ti- 
o 
Na-Na- Nagetirakita Gadigina Nagetita 
x 
Gi- -na -kata Ga- -di --kata 
x 
Dhigena Dhatraka Dhinagi Danag 
x 
Takda-na Titi Nana Nagetirakita 
o 
Dhagetakita Dhatirakittak Tak-dhiradhira kittaktakita 
 
 
104
 A Hindi phrase used to denote two faces 
 
177 
 
 
Gat 5 
Farukhabad Gharana. Tempo -120 or 240. Taal-Teental 
 
This is a Gat taught to me by pt. somashekhar holgundi of Dharwad. 
The Tihai part of the Gat has a Rela phrase. The phrases of the ending part of this Gat are the 
phrases of the Rela that has been discussed in the Rela chapter. 
The first three phrases are in Tishra jati. The matra‘s 4, 5, 6,7,8,9 have the „bol‟s‟ Related to 
a Kayada of Lucknow Gharana and hence seem to be the „bol‟s‟ Related to dance. The 
concluding part of the Gat is Rela phrase without Dha „bol‟s‟. All these poetic mixtures make 
this Gat a rich composition. 
 
This Gat can be followed by a Rela that is given below. The meaning of kavita is poem. Most 
of the poems are having rhyming words and thus this Gat is based on such poems. The 
ending words of a line are rhyming words. 
An illustration: 
---------Ram ------------takta-na 
---------Shyam -------------kata-na 
The rhyming words are melodious to hear. There is no need for musical knowledge to enjoy 
such a composition. A laymen can also enjoy such a Gat and can make out the poetry hidden 
in the Gat. 
x 
Dhinataktak Dhinataktak Dhinataktak Titakata-na 
x 
Dhinataktakdhin Takatakadhintak Takataadhinatak Titakatakidnag 
o 
Titakatakidnag Dhiradhira Dhiradhira Gidnag 
x 
Takittakdhira 
Dhiradhirakittak 
Tatirakittak 
Ta-kittakdhira 
Dhiradhira kittak 
Ta-tirakittak 
Takittakdhira 
Dhiradhirakittak 
x 
Dha 
 
178 
 
The phrase Dhage has to be considered as it used in an offbeat mode in various places of the 
Gat. This Gat was taught to me by guruji Pt. Somashekhar holgundi. There are very few such 
compositions that have such a rhyming theme thus this Gat stands as a special and unique 
Gat. There is a jod of this Gat which is not discussed here. 
 
Most of the maestros have also termed this Gat as ‗Badayo ka Gat‟. This is a Hindi phrase. 
The meaning of this Gat given below brings into light how the idea of this Gat was flashed 
into the minds of great composer‘s. 
 
―Imagine the scene of a skillful labor striking red hot iron pieces with a hammer to bend the 
iron and bring it to a kind of shape that is required. The hard striking on the hammer creates 
a Tempo and a rhythm is heard in a particular Tempo. This rhythmic striking even though 
not intentional brings a kind of inspiration to the listener (Tabla player) and thus this 
particular composition would have been created. We see the rhyming sounds as and when the 
red hot iron piece is struck with hammer. 
A composer being a visual witness to this whole scenario tries to create the same scenario 
with his imagination through the „bol‟s‟ of Tabla”. 
 
4.6.6 Gat 6 Taal Jodi Gat in Teental. Tempo 120. 
 
X 
Dhagetakdhin Dhagetakdhin Dha-gidan Dhagtakdhin 
X 
Taktakdhin Taktaktaktak Dhinnagdan --gdan Na 
O 
GidnagDhagetak DhinaDhagetakdhin Dhagdan-Dhatira Kittakdhirdhirkittak 
X 
TatirakittakDhatirkittak Dhirdhirkittaktatira KittakDhatirakittakdhira Dhirakittaktatirakittak 
X 
Dha 
 
179 
 
This is a Jodi (twin) Gat for Gat 5. Both the Gat‟s are played one after other. The phrases of 
the Gat 5 and 6 have a communication between them. Both the Gat‟s have the same Gati and 
thus both are u separable. 
This Gat has been well performed by Tabla legend Ustad nizamuddin khan in one of the 
recording available. 
 
180 
 
4.6.7 Gat 7. Farukhabad Gharana. Kavita Gat. Tempo 130-150 
 
X 
Tirakita Tata -nadhita Dhitakata -naDhage 
X 
TitakdaDha -naDhage Dhingadhina -naDhage 
O 
DhirdhirkidDha -NaDha- Dhirdhirkittak Tirtirkittak 
X 
Dhirdhirkittak Tirtirkittak Dhirdhirkittak Tirtirkittak 
X 
Dha 
 
4.6.8 Anagat Gat 8. Tempo 220 Drut Teental 
x 
Dhi-kdadhin Ta-Kittak Tirakittak Tak-kda-n 
x 
Dha-dhina Kittak takita Dha--- Dhirdhirkat- 
This is an anaGat Gat played by almost all the maestros because of its surprising capacity. It 
does on land itself on the Sam. As we see that the Gat finishes slightly (2lagu's) before the 
first beat. This is the surprising part of anaGat compositions. They finish before the first beat. 
The Gat is designed so as to suit the theme and the „bol‟s‟ are also organised scientifically. 
This remarkable composition was taught to me by pt. Suresh samantji of pune. The kat Bol 
nearing the Sam is also special. The ending Bol usually is open Bol but here I order to bring 
the kind of silence and surprise a closed Bol is taken into the Gat. 
 There are various versions of Gat8 taught by pt. suresh samantji. I ll be discussing only one 
of them. 
 
 
 
 
 
181 
 
Version 1 (8.1) 
x 
Dhi-kdadhin Ta-Kittak Tirakittak Tak-kda-n 
x 
Dha-dhina Kittak takita Dha--- Dhirdhirkat- 
o 
--dhina KittakTakita Dha--- Dhirdhirkat- 
x 
-- Dhina Kit taktakita Dha--- Dhirdhirkat- 
 
 
182 
 
4.6.9 Manjedar Gat. (9) Teental Farukhabad Gharana 
Madhya/Drut Lay: 
Most of the compositions are unique and this composition is one among them. The maanja is 
the word given to a thread that is used to fly a kite. Guruji pt. vamanrao mirajkar has stated a 
different definition to this Gat. He explains the situation of flying two kites when both get 
entangled there is a friction of threads to cut each other's kite and its link to the thread and the 
kite flyer. This is a very interesting game. After the kite is cut from its source thread the 
flying kite thus flies without any destination and may abruptly land to any place 
. The landing depends upon the various external factors like wind, velocity and the 
surrounding environment. The imagination of the entangled kite in air is thus brought into 
various compositions and then the landing also is taken into the compositions. Hence the 
manjedar Gat has lot of great stuff that is tightly packed into a compositions. There are 
differences of opinion in the meaning of this Gat that is explained different by various artists. 
Most of the books have given the meaning as the flow of water from the falls. As we see that 
the fall of water supported by the stones and rocks in the background creates a Tempo. This 
Tempo thus has various flows that not only create sub Tempos but also change the flow of 
the water. Whenever a rock comes in between the flow of water is divided. This makes the 
change in the flow and thus we see that the water flows downwards without a definite 
destination. The flow and the force ofwater falling is also to be considered and compared 
with the flow of the water reaching the ground in the end. There is difference in the intensity 
of the Tempo and all these factors have been tried to bring into the compositions through the 
„bol‟s‟. 
 
183 
 
 
x(1
st
 Avartan) 
Dhi-nga Dhi-nga Takita Takita 
X 
Dhatraka Dhikita Kata Ga Digina 
O 
Dhatrakadhi Kitakata Ga-di- Gidanaga 
X 
Dhinga Dhinga Takita Takita Dhatraka Dhikita Kataga Digina 
x(2
nd
 Avartan) 
Ti-nga Ti-nga Takita takita 
X 
Tatrakati Kitakata Kata ka Ti kina 
O 
Dhatrakadhi Kitakata Ga-di- Gidanaga 
X 
Dhinga Dhinga Takita Takita Dhatraka Dhikita Kataga Digina 
 
Awareness of the composers 
The imagination of the composers who composed such a complex theme is remarkable. The 
concentration in which they hear to the falling water or the situation of flying kites is to be 
noticed. Most of the times there is only visual and no sound .For instance the situation of the 
kites flying and being entangled has no sound. The composers seeing this situation try to 
convert the visual situation into sound. Thus now we have vice versa. That is. Sound but no 
visuals. The compositions are such that the listener can imagine the situation relating to the 
sound of the phrases that are in the composition. The concentration and the awareness with 
which a situation is studied decided the quality off the composition. 
 
184 
 
4.6.10 Rela-Ang Gat. (10) Teental Farukhabad Gharana 
Madhya/Drut Lay: 
In this composition we have the characteristics of Gat a well as Rela. It appears as a Rela but 
is called as Rela-Ang Gat by most of the Tabla players. Ang-means body. This Gat has the 
body of the Rela and thus the name Rela-Ang Gat. 
x (1
st
 Avartan) 
Dha-gidnag Tak-gidnag Dhiradhira Gidnag Tak- Gidnag 
 
DhiraDhira kittak Dhatirakita Dha Gidnag dhingnag Tak-gidnag 
 
Dhirdhir kittak Dhirdhir kittak Dhatirakita Dha Gidnag dhiradhira 
 
Gidnag dhingnag Dhiradhira gidnag Dhing nag dhiradhira Gidnag dhinagnag 
x (2
nd
 Avartan) 
Ta-kidnag Tak-kidnag Tiratira Kidnag Tak- Kidnag 
X 
Tiratira Kittak Tatirakita Ta Kidnag Tingnak Tak-Kidnag 
O 
Dhirdhir kittak Dhirdhir kittak Dhatirakita Dha Gidnag dhiradhira 
X 
Gidnag dhingnag Dhiradhira gidnag Dhing nag dhiradhira Gidnag dhinagnag 
 
 
185 
 
 
4.6.11 Conclusion of Gat‟s in Delhi and Farukhabad 
Gharana 
There are various Gat compositions in Farukhabad Gharana. There are 
comparatively less Gat compositions in Delhi Gharana.The Gat compositions of 
Farukhabad Gharana are unique and theme based. Farukhabad Gharana has the highest 
collections of the Gat compositions. The compositions and their quality is outstanding. The 
gat compositions very important composition‘s in Tabla. This Gharana is considered as one 
of the most important Gharana among the Tabla players.The force of the „bol‟s‟, element of 
surprise and the colour of the Gat‟s make them appealing among the common people.Gats 
have their impact on the Kayada also and thus we have many Gat Kayada‘s.There is very 
less evidence of Gat‟s in Delhi Gharana and hence we find very less evidence in the history 
about the Gat‟s in Delhi Gharana. 
There are various gat compositions named on their nature. To name a few Farmaish 
gat,manjedar gat,do-mui gat,kavita gat,lalkilla paran,anagat gat,atit gat and many more. Many 
artists have been naming and composing gat‘s all over and thus we definitely will keep these 
gat compositions evolving. 
 
186 
 
5.Conclusion 
 
 The various chapters that were discussed in the research have in depth study of 
various aspects influencing the gharana and its compositions. The compositions were 
composed by one or other artists/composers. A maestro of a particular region would 
popularize some compositions and hence his style was termed as gharana. The gharana has 
been described as a family tree. I have heard from my guruji that three generations constitute 
one gharana and hence if we find all such gharana‘s presently, there would be numerous 
gharana‘s. 
 During the start of 19
th
 century the evolution of Tabla art was in process as we 
compare today. There are outstanding performers who composed, added various 
compositions to the library of the gharana‘s. The artists were from a particular region and the 
mode of the physical transport was very slow. Hence the artists were confined to a particular 
region. They had to play with the regional artists and the various circumstances that led to the 
development of other art forms had a mild effect on the artists of that particular region. It was 
this stagnancy that might have led for an artist to be in a place and adapt his playing to a 
particular region. The tone thus that he got was monotonous and after we study today we feel 
the urge to maintain the purity of the gharana but the artists earlier were tied to such 
circumstances of a particular region, the purity of the gharana was maintained by default. 
 
Purity of gharana’s: 
The exact meaning of the purity in gharana‘s has been different in different periods. 
The present meaning and the rules differ from the past. Hence there is a possibility that the 
purity that we define today may change its nature if not the exact meaning of the phrase, in 
future. 
Today we give a lot of meaning to the purity of gharana‘s. This is important as the 
basic structure by which we defined the term gharana in the course of time has to be 
maintained even in the future years to come. The tradition and its beauty are very valuable as 
it binds the artist to a discipline being in which he may get the route to various creative ideas. 
 
Tabla and its applications 
 The application of Tabla in various fields has thus put a question as to how the 
gharana‘s today have their existence in the playing style of an artist. Tabla today is widely 
 
187 
 
used as an accompaniment instrument much more than being a solo instrument. Tabla solo is 
very much interesting and thus has found their dominant place in the musical organizations 
that we hear today. Similarly the wide range of the frequencies that the instrument supports 
has made itself available and important to be taken as accompaniment instrument in almost 
every musical concert and in almost every jounour of music. 
 
 
Existence of Gharana’s: 
Coming to the point of the gharana‘s we have discussed Delhi and Farukhabad 
gharana‘s. The origin of tabla involved converting the bol‘s of pakhawaj into tabla bol‘s. 
These conversions were termed into various compositions and thus the first improvisational 
rules were introduced. The family developed passing on the traditional composition to the 
disciples and to their disciples and so on. The region from which these tabla players emerged 
was Delhi and thus came the name Delhi gharana. Some of the players from the Delhi 
gharana migrated to various other places and thus landed up themselves in the eastern region 
these players contributed to the repertoires of Farukhabad gharana. 
In an interview Ustad Ahmedjan tirakwa has stated that there are two gharana‘s Delhi 
and poorab. All the other gharana‘s are the part of these gharana‘s. 
Some of the maestros have stated Punjab to be the oldest gharana‘s. However we still 
have 6 gharana‘s and each gharana has compositions of their own and are also having 
inherited their styles from the original Delhi gharana. There can be no tabla without learning 
Delhi gharana. 
 
188 
 
Compositions of Delhi gharana and their contribution to Tabla: 
 
All the compositions discussed in Delhi gharana are having a great traditional value. 
Among all the existing compositions, Kayada enjoy the highest priority in Delhi gharana. The 
discipline of Kayada has given stability not only to this gharana but to the whole tabla field. 
The credit of bringing these improvisation rules thus goes toDelhi gharana. If we omit 
Kayada from any of the gharana‘s it is as good as switching off the engine of a running 
vehicle. The gharana is one of the gifts of all the maestros to the Tabla that binds the 
musicians and thus gives the musicians a sense of identity. Imagine if there were no 
gharana‘s then it would be just like acres of land with no houses built in it. Thus each gharana 
has a speciality of its own. The Delhi gharana is one of the most popular gharana and it is 
mandatory for all the Tabla players to play the compositions of delhi gharana. It was the first 
to present the improvisation rules to the Tabla world. The improvisation techniques of Delhi 
gharna were copied and modified by the other gharana‘s so as to beautify the compositions 
further. The simplicity of delhi gharana is the nature of compositions that are in a definite 
order. The variations also support the cause of the kayada and are unidirectional. In order to 
get a idea of tabla learning delhi gharana is mandatory. This being the fact there are Tabla 
players and maestro‘s from other gharana‘s who give high regards to the tabla players of 
delhi gharana and ato the compositions of delhi gharana. The technique adopted in delhi 
gharana is very melodic involving more of the wrist movements and the tip of the fingers. 
This facilitates the sharp and the crisp tone that is clear to hear. The nature of the tone 
generated suits the accompaniment to various forms of music such as vocal and instrumentsl. 
A tabla player of delhi gharana can be easily recognized in the bunch of Tabla players 
because of all the nature that the gharana has. The delhi gharana has a decent development 
for the peshkar and kayada‘s. There are comparitively less number of rela‘s and rau‘s. The 
gat compositions and the chakradhar‘s are very rare in this gharana‘s. The focus was mainly 
on the improvisation based compositions rather than fixed compositions. As the tabla solo 
began to evolve further there was definitely the need of more forceful bol‘s. 
 A Kayada has many small phrases which are used as accompaniment phrases. 
A Kayada has a hidden rela, rau, luggi and many more compositions. A Kayada of one Taal 
can be modified a little to make it useful in other kayada‘s. The rules of modification are 
directly dependent on the gharana‘s rules and hence we see a single flow of discipline. This 
process can be termed as a process of travelling from finite to infinite. 
 
189 
 
Only a detailed study will reveal how only one Kayada can travel in fragments in 
different compositions and situations. Playing a Kayada with a great awareness knowing all 
the parts of the Kayada and how they are to be used, an artist becomes a medium of divine 
expression. We also have lot of evidences of artists playing a Kayada without awareness. 
There is a lot of difference and thus Kayada can make an artist aware of many things hidden 
in a single composition. Similarly even in life we come across many situations where we 
have many hidden things in reality. 
An artist thus gets the vision of many things from one thing. This is one of the 
greatest contributions of the compositions in a gharana. It is through this concept that the 
great composers have given us various compositions that were either inspired by some other 
compositions or from the various day today activities. 
Music being a dynamic process every moment artists all over the globe keeps adding 
various compositions to the dictionary of the gharana. 
 Delhi gharana has lot of compositions which were extracted into other 
Gharana‘s and were modified so as to suit the nature of Gharana‘s. The compositions 
discussed here in the research are well known compositions that are usually known to all the 
students and artists in the field. 
Depending upon the situation, an artist gets a chance to go into the depth of the 
compositions. For me this research was a great opportunity that revealed lot of facts about the 
Delhi and Farukhabad gharana. Some of them are as under: 
 Delhi gharana is the versatile gharana having lot of qualities. It is a standalone 
gharana. 
 Delhi gharana is so important that no tabla can be learnt and performed 
without learning the basics of Delhi gharana. 
 Delhi gharana was the first to introduce the improvisational rules. 
 Kayada‘s (heart of tabla) were introduced into the tabla solo by Delhi gharana. 
 Delhi gharana has been the source of inspiration to many other Gharana‘s. 
 Delhi gharana has its existence till today and we still find various maestros 
tied to the gharana. 
 
190 
 
 Delhi gharana compositions have a unique quality. The compositions can be 
easily identified in the bunch of compositions 
 Most of the compositions in Delhi gharana are in barabar(1:1) lay 
 The Delhi gharana player is most suiTabla for vocal and instrumental music. 
 There are large number of collections of kayada 
 chalans and rela have limited existence 
 There are rare gat‘s and chakradhar‘s and hence it hard to find the evidence 
 There are some short comings in the gharana which were bridged by 
Poorab(Farukhabad gharana) and other Gharana‘s. 
 
Views of the great artists were considered in the concept of gharana wise playing. Pt.Ravi 
kudligi stated a wonderful fact such that all the basic syllables such as NA, TA, DHA, GE, 
KI, KAT etc ever exist. Neither of any other gharana can claim that these are from a 
particular gharana. These are common phrases in any gharana of tabla. The phrases that 
emerge from all these basic syllables are grouped according to the nature into different 
Gharana‘s. Thus after years of practice and realization artists today learn the qualities of all 
the Gharana‘s and thus compose various phrases that suit the basic requirement of a particular 
situation. Since the artist studies the characteristics of most of the Gharana‘s the composed 
composition naturally fall into one or the other Gharana‘s. 
In other way we can compose a composition for a certain gharana having the preconceived 
thoughts of a particular gharana. 
The second method is just freely composing without having the preconceived mind just by 
following an inspiration that comes to the mind and then studying the nature of the 
composition to determine the gharana into which a composition can be categorized. 
All the compositions that we have today are categorized on various bases. Some of the 
criteria‘s are as mentioned below. 
 The compositions were composed by the artists from a particular gharana. 
 The artists belonged to a particular gharana and the compositions that were composed 
naturally were grouped into the same gharana 
 
191 
 
 These artists practiced in the same gharana from so many years. Hence the 
compositions composed were inspired by the syllables and the phrases that already 
included in the gharana‘s dictionary. Hence the compositions naturally fell into the 
same gharana from where the artist belonged to. 
 The evolution of tabla has happened into many generations. Today we feel that a 
composition that has been termed as a composition from a particular gharana can be 
played by an artist of other gharana altering the tonal quality of a composition. The 
Composition thus we feel may be well suited for other gharana to which the artist 
belongs to Hence we have a dilemma as to which gharana a composition belongs to. 
 Most of the time it is the capacity of the performer to play composition of some other 
gharana to which he is not related much. The characteristics of the tone have been 
studied by the artist and hence this becomes possible. 
 It is extremely necessary to know from which gharana a composition has originated. 
This helps to establish the composition with its full personality. 
 A composition can be changed to make it suiTabla in other taal and hence there is also a 
possibility of changing a composition so as to make it more colorful.The end result may 
be different. Studying the changed composition we may feel that the same composition 
has been resembling the nature of a different gharana and hence can be categorized into 
other gharana also. 
 
192 
 
Farukhabad gharana 
This is one of the most impressive Gharana‘s. Some of the conclusions are given 
below. 
 Farukhabad gharana is one of the most impressive gharana also known as 
poorabi or eastern baaz. 
 Most of the Delhi gharana compositions were changed according to the 
nature of this gharana. One finger was replaced with two fingers. 
 The concept of kayada-Rela was introduced by this gharana 
 There is lot of Rela collections in the Gharana‘s. 
 Chalan : a wonderful and melodic compositions was a gift of this gharana 
to tabla 
 The rigidity of the rules of kayada‘s in Delhi gharana was studied and the 
improvisation rules were reformed. 
 Here a kayada blends itself into a Rela and Rau. 
 A chalan turns itself into a rela or a rau. 
 A kayada can turn into a rela 
 A gat can also turn into a kayada popularly known as Gat kayada 
 Various gat‘s are played in Single/Double laya and most of the gats are 
having a khali part. 
 The concept of playing Rela/Rau and gat/Chakradhars was introduced by 
this gharana. 
 Hazi vilayat khan ,Amir Hussain khan were the greatest composers of this 
gharana 
 Most of the rela contains the phrase DHIRADHIRA which is the 
TITATITA of Delhi gharana 
 
193 
 
 Most of the tabla players have termed this baaz as ADHAD105 Baaz. 
In the end I would like to quote that the gharana concept is exteremely appealing. It is 
a scientific approach in making the art of tabla solo more colourful. Most of the Tabla players 
we have seen , are performing fluently in the youth . As the time evolves they get less 
efficient due to age factors. The right playing technique will definitely bridge this problem 
and a Tabla player with right knowledge of the gharana and its techniques is bound to 
perform fluently at any age. Gharana is a style of playing that is concerned to a fingering 
aspect, tonal quality and the style of the bol‘s that are played. In general a Gharana is kind of 
language. As the region differs from other similarly the style of the compositions played in 
one Gharana differs from the other. The mistaken concept of Gharana is such that a 
Gharana is a cage and the creativity stops if we stick to a Gharana. This is a mistaken 
knowledge and it is because, the Gharana is just a category. As there can be any number of 
compositions in the Gharana, the playing style of the compositions just should resemble the 
main aspects of the Gharana. This means that a Gharana is not static entity; it is a dynamic 
form of music. It is a discipline that was thought by our maestros. There are some people who 
criticize Gharana due to the mistaken knowledge that is circulated. Factually, a Gharana 
binds a musician to a certain discipline inside which he can live or create music of top quality 
without jumping out of the boundaries. Similarly he is free enough to broaden the walls of 
Gharana if he discovers something new that can be added to the dictionary of Gharana. 
The creativity of the artists is thus channelized and makes him think in the correct 
way so as to keep the discipline in tact as well as create a musical flow in a finite direction. 
The study of compositions in Delhi and Farukhabad Gharana was a wonderful journey. I 
have tried to fuse the best of the realizations and the knowledge extracted through various 
sources, maestros, audio and video library, Resource Person etc. and my personal experience, 
into this research. 
The hidden parts and the concepts of the Gharana were illustrated with compositions. 
The development of the compositions that are rather infinite have been studied and thus have 
been channelized for the reference of the students. The valuable information that was 
available only through the Guru-shishya tradition has been made available to the music 
lovers and thus I hope this research makes a remarkable contribution not only to the field of 
 
105
 Played with the palm of the right hand 
 
194 
 
Tabla but to the total musical community.In the conclusive words I would like to add a 
definition to the Gharana. 
In concluding the present work, I feel that the present thesis will likely stand as a 
significant study material and a supportive document for the generations to come. The areas 
that were discussed and discovered in this research are as follows: 
1. Illustrated the origin of tabla 
2. Described the compositons of tabla and their development patterns 
3. Described on how the development of compositions happens separately in Delhi 
and farukhabad Gharanas 
4. Detailed analysis of compositions and their inspirations. 
The present research shows the new possibilities of development of compositions 
that were hidden or unreachable to enthusiasm of the aspiring students. This 
research can also be accomplished by the researches in coming years. A YouTube 
channel named educational series has also been created and thus the study 
material pertaining to this research will be updated in coming years so as to show 
the practicability of this research and thus contribute to this wonderful art of tabla. 
 
 
195 
 
 
 
 
 
"Gharana is an inner space that has virtual walls that become invisible 
and infinite to those maestros who have developed the vision and 
realisations of the truth about its existence. However, Gharana is also a 
process of bringing a sense of total finiteness into the compositions that 
are otherwise infinite”. 
 
 
196 
 
Keywords and definitions 
- A - 
adachautal - A common 14 beat tal. 
addha tal - A tal of 16 beats. 
adi lay - In a four unit time, one plays six units per beat. (i.e., 3/4 time, 1 1/2 time, or 
tisra jati). 
adi tal - A south Indian tal of eight beats, similar to both tintal and kaherava. 
Ajrada - A village near Meerat. 
ajrada baj - A style of playing originating from Ajrada. 
akal - (Lit. "without time") a lucknowi gat which ends before the sam. 
aksharkal - (Lit. "unit of time required to utter one short letter of the alphabet".) In 
ancient times this implied a fundamental unit of measuring rhythm. (4 aksharkal = 1 
matra) 
alap - A slow rhythmless elaboration upon the rag used by vocalists and 
instrumentalists. 
Amir Khusru - Musician during time of Ala-u-Din Khilji. 
anagat (grah) - 1) The process of ending a composition before the sam. 2) An archaic 
term which means to start the composition before the sam (das pran). 
anagat tihai - A tihai which ends before the sam. 
andolan - (Lit. "swinging"). An ornament of song or melodic instrument which may 
be described as a slow shake. 
ang - (lit. limb, or section) A measure, or vibhag. 
angushtana -A style of tukada or rela which concentrates on the fingers. 
ank tal - A rare tal of nine matras. 
antarakrida tal - An obscure tal of seven matras. 
antara - A secondary theme in vocal styles. 
anudrut - 1) Ultra-high speed (see ati-drut). 2) An archaic unit of time equal to two 
chaturbhag. 
ati drut - Ultra-fast tempo. 
ati vilambit - Ultra slow tempo. 
atit (grah) - The process of ending a composition after the sam. 
atit tihai - A tihai which ends after the sam. 
avartan - A cycle of the tal. 
 
197 
 
- B - 
baaj - See baj. 
baaz - See baj. 
badhi - The tasma. 
bada - (Lit. "large"). The slow section of a kheyal. 
badi savari tal - An obscure tal of 16 beats. 
baj - A style of playing (i.e., dilli baj, ajrada baj, etc.). 
bal - A palta or permutation of rela or kaida. 
banarasi baj - A style of playing originating in Benares, often considered synonymous 
to purbi baj. 
band - (Lit. "closed".) Non-resonant strokes such as Te, Ka, Kat, Tak, etc. 
bandish - A composition or fixed musical piece. 
bant - Another name forkaida. 
banti - Another name for kaida. 
barabar lay - 1) Thah or single time. 2)Playing in chaturstra jati (i.e., 1/2 time, single 
time, double time, etc.). 
basant tal - An obscure tal of nine or 18 beats. 
bayan - The large metal left hand drum. 
bedum tihai - A tihai in which the three sections are not separated by a pause. 
Benares - A city in North India. A gharana from that city. 
Bengal - A state in northeastern India. 
bhatkhande paddhati - The theoretical and notational system of Bhatkhande. 
biadi lay - Playing in misra jati (i.e., 13/4 times, 31/2 times, or seven times.) 
bol - The mnemonic syllabi of tabla. 
bol paran - A type of composition whose syllabi are actually words. 
Brahma - The supreme creator (God). 
brahma tal - An obscure tal either of 14 or 28 beats. 
brahmayog tal - An obscure tal of 15 or 18 beats. 
- C - 
chakra tal - An obscure tal variously described as five or 30 beats. 
chakradar - A tihai in which each phrase is a tihai in itself. 
chala - See chalan. 
chalan - Some consider this to be similar to peshkar while some consider it to be 
similar to laggi or ladi. There is not a broadly accepted definition. 
 
198 
 
chand - A theme and variation based upon unusual syncopations. 
chat - The outer section of the tabla skin. 
chaturbhag - An archaic unit of time equal to two kalas. 
chaturput tal - An obscure tal of nine beats. 
chaturstra jati - Any rhythm composed of 2, 4, 8, 16, 32, etc. beats. 
chaugun - A layakari of 4:1. (i.e., quadruple time.) 
chauhai - Similar to tihai except there is a repetition of the phrase four times instead 
of three. 
chaupalli - 1) The same as tipalli except with four sections. 2) A composition 
revolving around a quadruple repetition of a single bol (e.g.,. . . . . . .). 
chautal - An old 12 beat pakhawaj tal. 
chegun - (Lit. "six-times") Six strokes per beat. 
chela - A disciple, or student. 
- D - 
 
da - A tabla bol of pakhawaj origin. 
dha - A tabla bol. 
dadra - A semiclassical style of singing 
dadra tal - A common six beat tal used in light and semiclassical music. 
dagga - The large metal left hand drum. 
dam - (Lit. "Breath"). A pause, specifically the two pauses which separate the three 
sections of a tihai. 
damdar tihai - A tihai in which each section is separated by a pause. 
das pran - (Archaic, Lit. "ten breaths") The ten characteristics of tal. 
das syandan tal - An obscure tal of 10 beats. 
dayan - The small wooden right hand drum. 
deshi nishabd kriya - An ancient concept regarding timekeeping with the hands, 
performed so that sound was not produced. This was specifically used in the deshi 
sangeet. 
deshi sashabd kriya - An ancient concept regarding timekeeping with the hands, 
performed so that sound was produced (i.e., snapping of fingers, clapping of hands, 
etc.). This was specifically used in the deshi sangeet. deshi tal - A tal which is of the 
ordinary material world, opposite of marg tal. 
dha - A fundamental bol of both tabla and pakhawaj. 
 
199 
 
dha - An uncommon bol. 
dhadhi - A Muslim community of hereditary musicians, generally considered to be 
low caste. 
dhaivat - The sixth note of the scale (Dha). 
dhamar tal - See dhammar tal. 
dhammar - An old style of singing, similar to dhrupad, generally associated with the 
spring season. 
dhammar punjabi tal - An obscure tal of 14 beats. 
dhammar tal - A 14 matra pakhawaj tal. 
dhammari tal - An obscure tal of 11 1/2 beats. 
dhi or - A fundamental bol. 
dhin - A fundamental bol. 
dholak - A crude folk drum characterized by a cylindrical wooden shell covered with 
skin on both sides. 
dholak masala - A paste applied to inner surface of left hand drum skin on many folk 
drums. 
dholki - A small folk drum popular in Maharashtra. 
dhrupad - A classical style of music, once popular but today rare. 
dhruva - (Archaic) A type of timekeeping in marg sashabd kriya characterized by the 
snapping of fingers. 
dhruva tal - An obscure tal variously considered 11, 14, 21, 23, or 29 beats. 
dhumali tal - A variation of kaherava tal. 
dhun - 1) A light style of instrumental solo. 2) A musical religious chant. 
di or - A tabla bol of pakhawaj origin. 
Dilli - Delhi, the present capitol of India. 
dilli baj - The style of playing tabla, originally from Delhi, characterized by extensive 
use of the middle finger and strokes on the rim of the tabla. 
dipchandi tal - A common 14 beat tal. 
drut - 1) Fast tempo. 2) An archaic unit of time equal to two anudrut. 
duff - A large tambourine used in folk music. 
dugga - See dagga. 
dugun - A layakari of 2:1 (i.e., double time). 
dupalli - A type of gat where a phrase repeats twice. 
durbal - A note of the rag which is weak or subdued. 
 
200 
 
dval - The tasma of the tabla. 
 
- E - 
 
ekaki vadan - Instrumental solo. 
ekgun - A layakari of 1:1 (i.e., single time) 
ekhatthi - See ekhatthu. 
Ekhatthi(Hindi word) - A composition which can be played with a single hand. 
ektal - A common tal of 12 beats, however, non-standard versions may be found for 3, 
4, 5, 7, and even 9 beats. 
ektali - See iktali. 
- F - 
fard - A purbi composition characterized by an absence of khali/bhari structure. 
farmaish - Encore. A special request from the audience. 
farmaishi paran - Any paran which is used for a farmaish (encore). This term really 
means nothing. It may be applied to virtually any paran, however, it will more 
commonly be applied to ekhatthu (ekhatthi), lom-vilom or top compositions. 
farodast tal - An old and obscure tal of seven or 14 beats. 
Farukhabad - 1) A town in northern Indian. 2) The gharana from this town. 
filmi - 1) Pertaining to the film or movie industry. 2) A style of popular music. 
fuljhadi - (Lit. a type of fireworks, a "fountain".) A type of gat characterized by 
sudden changes in the overall speed. 
- G - 
gab - The syahi. 
gajajhampa tal - An obscure tal of 15 beats. 
gajalila tal - A rare tal variously described as 17 or 18 beats. 
gajara - (Lit. a small string of flowers in a women's hair.) The braid of the pudi. 
gajarisch tal - An obscure tal of 20 beats. 
ganda bandhan - The ceremonial tying of thread around a new disciple's wrist 
signifying the beginning of ones discipleship. 
gandhara - The third note of the scale (Ga). 
gandharva - The demigods who, according to mythology, were the original possessors 
of the celestial art of classical music. 
 
201 
 
Ganesh - The elephant headed God who removes obstacles, often considered the god 
associated with percussion. 
ganesh tal - An obscure tal of either 18, 20 or 21 beats, formerly played on pakhawaj. 
garugi panchak tal - An obscure tal of 15 beats. 
garugi tal - An obscure tal of nine beats. 
gat - 1) A compositional type common in the purbi style of playing. 2) The theme of 
an instrumental performance. 
gat kaida - A gat which is performed to a strict kaida format. 
gatta - The wooden dowels in the lacing. 
ge - A bol for the left hand. 
geet - A song. 
gha - A basic bol of the left hand. 
ghan - A non-membranous percussion instrument (e.g., bells, manjira, jal tarang, etc.) 
gharana - (Lit. "house") A particular subtradition or "school" 
gharanedar - A representative of a particular gharana or school. 
ghat tal - An obscure tal of eight beats. 
ghatam - A large earthenware vessel which is played in south Indian performances. 
ghe - A bol for the left hand. 
ghi or - A bol for the left hand. 
ghin - A bol for the left hand. 
ghungharu - A collection of very small bells worn around the feet of a dancer. 
gi or - A bol for the left hand. 
gin - A bol for the left hand. 
ginti tihai - A tihai commonly found in kathak, based upon so many small iterations 
that numbers are used instead of ‗bol‘s‘. 
gopuchcha yati - (Lit. "a cow's tail") An ancient variety of rhythmic variation. It 
begins fast and gradually decreases tempo. 
gotuvadhyam - An instrument similar to a Saraswati vina except thatit has no frets. It 
is played with a slide like a Hawaiian guitar. 
grah - 1) (ancient) The starting point of the composition. There are four types: sam, 
visham, atit, and anagat. 2) (modern) The method of handling sam. 
grah tal - An obscure tal of nine beats. 
grahagrah tal - An obscure tal of 20 beats. 
gudri - The kundal. 
 
202 
 
guru - 1) A teacher. 2) An archaic unit of time equal to two laghu. 
guru bhai - A fellow disciple under the teacher. 
guru purnima - A day set aside to honor the guru. 
guru-shishya-parampara - The lineage of teacher to disciple. 
- H - 
 
hamsalol tal - An obscure tal of five beats. 
hanuman tal - An obscure tal of 22 beats. 
harmonium - A small hand-pumped reed-organ. 
hathodi - The small hammer used to tune the tabla. 
hemavati tal - An obscure tal of 21 beats. 
himangshu tal - An obscure tal of 15 beats. 
hindustani sangeet - North Indian classical music. 
 
 
- I - 
ikawai tal - An obscure tal of 16 beats. 
iktali - An obscure tal of 11 beats. 
indra tal - An obscure tal of 15 beats. 
indralin tal - An obscure pakhawaj tal of 11 beats. 
indranil tal - An obscure pakhawaj tal of 17 beats. 
indri - The cloth and fiber ring cushions upon which the tabla rests. 
- J - 
jagadamba tal - An obscure 19 beat tal. 
jagajhampa tal - An obscure 15 beat tal. 
jagpal tal - An obscure 11 beat tal. 
jat tal - An obscure tal, variously considered to be 8, 12, or 16 beats. 
jat dipchandi - See dipchandi. 
jati - 1) A class of rhythm. 2) The number of notes present in a rag. 3) An ancient 
modal form of singing. 
jayamangal tal - An obscure tal which some consider 13 beats while others consider 
14 beats. 
 
203 
 
jhala - The fast rhythmic style of instrumental music characterized by a constant 
plucking of drone strings (chikari). 
jhampa tal - An obscure tal variously considered to be 6, 7, 8, 10, or 12 beats. 
jhampak tal - An obscure 11 beat tal. 
jhaptal - A common tal of 10 beats. 
jhoomra - See jhumra. 
jhumra tal - A tal of 14 beats, used primarily in kheyal. 
jod - A style of instrumental music characterized by rhythm but no rhythmic cycle. 
joralap - See jor. 
jori - The tabla pair. 
jugalbandhi - Duet between two similar instruments or vocalists. 
- K - 
ka - A tabla bol of the left hand. 
kaal - See kal. 
Kabir - A great saint who composed many bhajans. 
kaherava tal - A common eight-beat tal. 
kaida - A highly formalized approach to a tabla solo. 
kaida peshkar - A peshkar whose variations adhere strictly to the kaida format. 
kaida rela - A rela performed to a strict kaida format. 
kaidafarodast tal - An obscure tal in 19 beats. 
kakapad - An archaic unit of time equal to four laghu. 
kal - 1) The entire concept of time and musical timing. 2) One of the 10 vital airs of 
tal (Das Pran), which deals with absolute time. 
kala - 1) Art. 2) An archaic unit of time roughly comparable to a minute. 
kalanidhi tal - An obscure tal in 25 beats. 
kalavati tal - An unusual tal of 9 1/2 beats. 
kamali paran - A paran which is constructed in a highly unusual yet fascinating 
manner. 
kan - See kshan. 
kandarp tal - A rare tal of 24 beats. 
kanjira - A small south Indian tambourine. 
Kannada - A language of southern India. 
kapalbhrat tal - A very rare tal of 10 beats. 
karalmanch tal - An old and obscure tal of five or 10 beats. 
 
204 
 
karnatic sangeet - See carnatic sangeet. 
kartal - Wooden frames in which small jingles are placed. A simple clapper. 
kashth - (Lit. "wood") An archaic unit of time = to eight lav. 
kashttarang - A wooden xylophone, or marimba. 
kat - A tabla bol. 
kathak - A north Indian style of classical dance. 
kathakali - A dance form of the south Indian state of Kerala. 
kaushik tal - A rare tal in 18 beats. 
kawali - A style of Islamic devotional song. 
kawali tal - A tal of eight beats similar to kaherava. 
kdan or - A powerful bol of both pakhawaj and tabla. 
ke - A tabla bol of the left hand. 
keherava - See kaherava. 
kerva tal - See kaherava, a common eight beat tal. 
khali - (Lit. "empty") Waved, opposite of bhari or tali. 
khalifa - The oldest and most respected representative of a gharana. 
khamsa tal - A rare tal in eight beats. 
khand jati - Any rhythm based upon 2 1/2, 5, 10, etc. beats. 
khandapurna tal - A rare tal in 16 beats. 
khayal - See kheyal. 
khemta tal - A fairly common yet amorphous tal variously described as six or 12 
beats. 
kheyal - The most prominent style of classical vocal today. 
kheyal tal - See chang tal. 
khol - A folk drum of northeast India. 
khula - (Lit. "open") Resonant strokes such as Ga, Thun, etc. 
khula baj - (Lit. "open style") A style of tabla playing where the hands do not remain 
in contact with the drums, characteristic of the lucknowi style. 
khuli - See bhari. 
khyal - See kheyal. 
ki or - A tabla bol of the left hand. 
kinar - (Lit. "edge") The chat. 
kirtan - A Hindu religious song or recitation. 
 
205 
 
kisma - A term used by Benares tabla players to indicate a rearangment of the ‗bol‘s‘ 
of theka (i.e., prakar). 
kisme - Plural of kisma. 
kokil tal - An obscure seven-beat tal similar to tivra tal. 
kokila tal - A obscure pakhawaj tal variously described as seven or 17 beats. 
komal - A note which is flattened. 
krantan - An ornament of sitar or sarod produced by hammering with the left hand 
against the fret or fingerboard. 
krishna tal - An obscure pakhawaj tal in 20 beats. 
kriya - An old and obsolete term describing the manner of keeping time with the 
hands. 
krushya - (Archaic) A style of silent timekeeping (deshi nishabd kriya). 
kshan - An archaic unit of time, an instant, a tiny fraction of a second. 
kuadi lay - In a four unit time, one plays five units. See also sawai. 
kuchipudi - A classical dance form of the south Indian state of Andhra Pradesh. 
kumbh tal - An obscure tal in 11 beats. 
kundal - The small ring at the bottom side of the tabla used for the lacing. 
kuri - The shell of the bayan. 
kusumaker tal - An obscure tal in 27 beats. 
- L - 
ladi - A type of laggi. 
ladi kaida - A kaida created by having a ladi follow a strict kaida format. 
laggi - A fast lively style of playing, similar to rela, used in light styles of playing, 
particularly with bhajans, thumris, gazal, etc. 
laggi kaida - A laggi constructed upon a strict kaida structure. 
laghu - An archaic unit of time equal to two drut. 
laghushekhar tal - An obscure tal of five or seven beats. 
lahara - A simple, repetitive melody used to accompany tabla solos and kathak dance. 
Sometimes (incorrectly) referred to as naghma. 
lakadi - (Lit. wood) The wooden shell of the tabla. 
lakhnowi baj - The style of playing originating from Lucknow. 
lakshan geet - A style of singing where the lyrics are a description of the rag. 
Lakshmi - Goddess of wealth. 
lakshmi tal - An obscure tal of 18 or 36 beats. 
 
206 
 
lalkila paran - A type of dohatthu which is inspired from nagada. 
langalul tal - An obscure tal of 14 beats. 
lav - 1) Maidan, sur, the part of the tabla's playing surface between the chat (kinar) 
and the syahi. 2) An archaic unit unit of time said to be equal to eight kshan. 
lavani tal - An eight beat tal. 
lay - Tempo. 
layakari - 1) The relationship between the performed pulse of a composition and the 
theoretical beat. 2) Complex divisions of the beat. 
lilawati tal - An obscure tal of 13 beats. 
lokmata tal - An obscure tal of 19 beats. 
lom-vilom - A novel structure which is composed of two parts. The first part being a 
mirror image of the second. Therefore, the composition is the same whether it is read 
backwards or forwards. 
lucknow - 1) A city in northern India. 2) The gharana from this area. 
- M - 
madan tal - An obscure tal of three or 12 beats. 
madhumalati tal - An obscure tal of 16 beats. 
madhya lay - Medium tempo. 
madhya saptak - The middle octave. 
madhyam - The fourth note of the scale (Ma). 
magadh tal - Anobscure tal of 23 beats. 
maha tal - A non-standard name for tintal. 
mahaadi lay - Double tempo of adi lay. (i.e., tigun) 
mahabiadi lay - Double tempo of biadi lay. 
mahakuadi lay - Double tempo of kuadi lay. 
mahanat tal - An obscure tal of 14 or 16 beats. 
Maharashtra - A state in western India 
mahasen tal - An obscure tal of 20 beats. 
mahavraj tal - An obscure tal variously considered to be of 8, 12 or 20 beats. 
mahesh tal - An obscure tal of nine beats. 
mahfil - A gathering, usually for poetry or music. 
maidan - The main resonating membrane of tabla or pakhawaj. makarandakirti tal - 
An obscure tal of 17 beats. 
malla tal - An obscure tal, some say of 21 beats, others say 13. 
 
207 
 
mallikatamode tal - An obscure tal of 16 beats. 
mandra saptak - The lower octave. 
mani tal - An obscure 11 beat tal. 
manipuri - A classical dance style from the northeastern state of Manipur. 
manjira - Small cymbals. 
manmath tal - An obscure tal of 20 beats. 
mansij tal - An obscure tal of 21 beats. 
manthika tal - An obscure tal of 13 beats. 
marg - 1) Describing the music of the gandharvas or celestial beings. 2) An ancient 
concept regarding the pauses between the beats. There were four types of marg: 
dhruva marg, chitra marg, vartik marg, and dakshan marg. marg nishabd kriya - An 
ancient concept regarding timekeeping with the hands, performed so that sound was 
not produced. This was specifically used in the marg sangeet. 
marg sashabd kriya - An ancient concept regarding timekeeping with the hands, 
performed so that sound was produced (e.g., snapping of fingers, clapping of hands 
etc.). This was specifically used in the marg sangeet. 
marg tal - A tal of the celestial beings, opposite of deshi tal. 
marichi tal - An obscure tal of 26 beats. 
masitkhani gat - A slow form played by sitar, sarod, santur and other instruments. 
Matang - The author of the Brihaddeshi. 
mathya tal - An obscure tal variously considered to be 8, 10, or 16 beats. 
matra - The beat. 
matt gayand tal - An obscure tal of 19 beats. 
matt tal - An obscure tal of nine or 18 beats. 
mattavijay tal - An obscure tal of 13 beats. 
mayur tal - An obscure tal of 17 beats. 
meend - A slide. 
mira - A great woman saint. 
mirasi - A low caste Muslim community of hereditary musicians. 
misra jati - Any rhythm based upon 1 3/4, 3 1/2, 7, 14, etc. beats. 
mithilesh tal - An obscure tal of 20 beats. 
mitti bayan - A bayan made of clay. 
mizrab - A pick worn on the finger to play sitar. 
mohan tal - An obscure tal of 12 beats. 
 
208 
 
mohani tal - An obscure tal of three beats. 
mohara - A short composition with a tihai which ends on sam. 
mridang - Any two headed barrel shaped drum of the pakhawaj variety. 
mridanga yati - An ancient rhythmic form which begins slow, becomes fast towards 
the middle and again becomes slow towards the end. 
mridangam - A south Indian mridang. 
mukhada - A very small phrase or composition ending on sam. It may or may not 
have a tihai. 
mundi - A term use by Banarasi musicians to indicate khali. 
murali - A flute. 
murchana - Modulation, or the process of deriving a new mode by shifting the tonic of 
an existing mode. 
murchang - A jew's harp. 
 
- N - 
 
na - Fundamental tabla bol. 
nad siddha - The spiritual mastery over sound to the extent that miracles may be 
worked. 
nagada - A pair of kettle drums played with sticks. 
nagada khani rela - A rela which is structured to imitate the sound of a nagada. 
nakshatra tal - An obscure tal of 27 beats. 
nal - A dholki. 
namaskar - A traditional greeting, or show of respect made by bringing the hands 
together. 
namaskari paran - An unusual piece which incorporates a namaskar into the structure, 
usually into the tihai. 
nandi tal - An obscure tal considered by some to be 24 beats and 32 by others. 
narayani tal - An unusual tal of 9 3/4 beats. 
nat tal - An obscure tal of four beats. 
natyashastra - The science of dramatics. 
naubat - A traditional group of musicians associated with open air performances at 
royal courts. 
nau-hakka - See nohakka. 
 
209 
 
nau-ki-tihai - A chakradar. 
navaras - The nine primary emotions of the Indian system of aesthetics. 
nilakusum tal - An obscure tal of 15 beats. 
nilanbuj tal - An obscure tal of 13 beats. 
nimish - An archaic unit of time equal to the blink of an eye. 
nirdosh tal - An obscure tal of five beats. 
nisaru tal - An obscure tal of 10 beats. 
nishabd kriya - Timekeeping without making a sound. 
nishad - The seventh note of the scale (Ni). 
nishkram - (Archaic) A style of silent timekeeping (marg nishabd kriya). 
nishoruk tal - An obscure tal of nine beats. 
nohakka - A type of tihai in which the bol "dha" comes nine times. 
nomtom - A rhythmic style of introduction found in dhrupad and dhammar. 
- P - 
 
padhat - See padhant. 
padhant - The recitation of ‗bol‘s‘. 
padmini - (Archaic) A style of silent timekeeping (deshi nishabd kriya). 
pakhawaj - A barrel shaped drum with playing heads on both sides. 
pakhawaji - One who plays the pakhawaj. 
palla - A section of the tihai that is repeated three times. 
palta - A permutation of a kaida. 
Paluskar - See Vishnu Digambar Paluskar. 
panch savari tal - See pancham savari tal. 
pancham - The fifth note of the scale. 
pancham savari tal - A rare tal of 15 beats. 
pancham tal - An obscure tal of 16 beats. 
panchashar tal - An obscure tal of 23 beats. 
paran - A class of small compositions derived from pakhawaj tradition. 
paran tal - See chautal. 
parampara - A lineage, or continuum (e.g., Guru-Shishya-Parampara) 
paschami baj - The styles of dilli and ajrada gharanas. 
pashtu - Some consider this to be mere prakar of rupak while others consider this to 
be a distinctly separate seven-beat tal. 
 
210 
 
pashupati tal - An obscure tal of 26 beats. 
pat tal - An obscure tal in two beats. 
patak - (Archaic) A style of silent timekeeping (deshi nishabd kriya). 
patit - (Archaic) A style of silent timekeeping (deshi nishabd kriya). 
paune dugan - The division of four beats into seven equal parts. 
payal - An ornamental form of ghungharu. 
pench - (Lit. "coil" or "screw") 1) A type of palta or variation in a kaida formed by the 
repetition of the first line three times. 2) Any palta. 
peshkar - (Lit. "introduction") An introductory movement similar to kaida but with a 
different system of permutation. 
peshkar kaida - A kaida produced by having a peshkar follow a strict kaida format. 
pipilika yati - (Lit. "the movement of an ant") An ancient rhythmic form characterized 
by sudden and apparently erratic changes in tempo. This derives its name because 
such sudden changes are characteristic of the movement of an ant. 
pital - (Lit. "brass") The brass shell of the bayan. 
plut - An archaic unit of time equal to three laghu. 
prabhatkiran tal - An obscure tal of 11 beats. 
prakar - Different varieties of theka. 
praman tal - An obscure tal in 17 beats. 
prasad - Food offered to god. 
prastar - Permutations upon a kaida or given theme. 
pratap shikhar tal - An obscure tal of 13 or 17 beats. 
prati tal - An obscure tal of eight beats. 
pravesh - (Archaic) A style of silent timekeeping (marg nishabd kriya). 
pudi - A tabla head. 
Punjab - 1) An area along the border between India and Pakistan. 2) The gharana from 
this area. 
punjabi - (Lit. "from Punjab") A 16 beat tal similar to tintal. 
puran tal - An obscure tal of 18 beats. 
purna tal - An obscure tal of 19 beats. 
purbi - (Lit. "Eastern") The style of playing in the Farukhabad, Lucknow, and Benares 
traditions. 
- R - 
ra - A tabla bol. 
 
211 
 
rabab - A stringed instrument similar to sarod. 
rababiya - One who plays rabab. 
rag - The Indian musical modes. 
ragini - A female rag. 
ragmala - 1) A style of performance where numerous different rags are joined 
together. 2) A style of painting based upon the characterization of the various rags.rajamandit tal - An obscure tal of 14 beats. 
rajasingh tal - An obscure tal of 40 beats. 
rajnarayan tal - An obscure tal of 28 beats. 
rang tal - An obscure tal of 16 beats. 
rangoli - 1) The decorative patterns drawn on the ground in front of the doorsteps of 
traditional Hindu families. 2) The powder used to draw the patterns. 
rao - A rela like style that accompanies instrumental jhala. 
ras tal - An obscure tal of 13 beats. 
rassi - The rope lacing on the dholak. 
rati tal - An obscure tal of 12 beats. 
ravinandani tal - An obscure tal of 14 beats. 
rayabank tal - An obscure tal of 24 beats. 
razakhani gat - A fast gat played by instruments such as sitar or sarod. 
rela - A very fast manipulation of small structures. 
ri - A tabla bol. 
riaz - See riyaz. 
rishabh - The second note of the scale (Re). 
riyaz - Perseverance, practice, dedication. 
rudra tal - An obscure tal variously considered to be 11, 15, 16, or 17 beats. 
rudra vina - An ancient vina composed of a single stick with two gourd resonators. 
rupak tal - A common seven beat tal with uncommon variations of 5, 6, 9 or 11 beats. 
- S - 
sadanand tal - A tal of three beats somewhat similar to dadra. 
sadhana - Great perseverance. 
sagar tal - An obscure tal of 17 beats. 
salvanth tal - An obscure tal of 26 matras, formerly played on pakhawaj. 
sam - The first beat of a cycle. 
 
212 
 
sam grah - 1) The process of ending a composition on the sam. 2) An archaic term 
indicating that the music starts on sam. One of the das pran of tal. 
sama yati - A type of yati characterized by uniform tempo from beginning to end. 
samadarshan tal - An obscure tal of 24 beats. 
samavadi - The second most important note of a rag. 
samay - The appropriate time for performance of a rag. 
samir tal - An obscure tal of seven beats. 
sampurna jati - A rag of seven notes. 
sampurna tihai - A tihai at the end of a kaida which contains the entire theme. 
samyak -(Archaic) A style of timekeeping in marg sashabd kriya, characterized by the 
striking of the stationary right hand with the left hand. 
sanchari - A tertiary theme found in dhrupad and other older vocal forms. 
sangati - Accompaniment. 
sangavikram tal - An obscure tal of 64 beats. 
sangeet or - Music and dance. 
sangeet ratnakar - An ancient text on music. 
sanghalila tal - An obscure tal of 14 beats. 
sankirna jati - A rhythm of 4 1/2, 9, 18, etc. beats. 
sankirna tihai - A tihai at the end of a kaida which contains only a portion of the 
theme. 
sannipat - (Archaic) A style of timekeeping in the marg sashabd kriya characterized 
by the movement of both hands. 
santoor - See santur. 
santur - An Indian hammered dulcimer. 
saptak - The register or octave. 
sar tal - An obscure tal ofeight beats. 
sarangi - A fretless bowed instrument with numerous strings. 
Saraswati - Hindu goddess of music, arts, and learning. 
saraswati tal - An obscure tal of 18 beats. 
saraswati vina - The common south Indian vina. 
sargam - The gamut. (i.e,. Sa, Re, Ga, Ma, Pa, Dha, and Ni). 
 
sarod - A stringed instrument similar to rabab. 
 
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saroj tal - An obscure tal of 12 beats. 
sarpini - (Archaic) A style of silent timekeeping (deshi nishabd kriya). 
sashabd kriya - Timekeeping that makes noise (e.g., clapping of hands). 
satgun - Division of matra into seven divisions. 
sath - A class of compositions found in the pakhawaj styles. 
sath sangat - A style of playing where beat-for-beat the tabla follows the main artist. 
savari badi tal - See badi savari. 
savari choti tal - Choti savari, see pancham savari. 
savari pancham tal - See pancham savari. 
savari tal - An obscure tal variously described as 14, 15, 16, 30, or 32 beats. See also 
badi savari or choti savari. 
sawai - 11/4 time. (i.e., playing five strokes in four beats.) See kuadi. 
shabad - A religious song of the Sikhs. 
shadav - A rag composed six notes. 
shadj - The first note of the Indian scale (Sa). 
shadtal - An obscure tal of 12 beats. 
shagird - A student or disciple. 
shai - Vernacular of syahi. See syahi. 
shakti tal - An obscure tal of 10 beats. 
shambhu tal - An obscure tal of 16 beats. 
shankar tal - An obscure tal of 11 beats. 
shankh tal - An obscure tal of 10 or 13 beats. 
shanmukh tal - An obscure tal of 10 beats. 
sharabhakrida tal - An obscure tal of 19 beats. 
sharabhalila tal - An obscure tal of 21 beats. 
Sharangdev - Author of Sangeet Ratnakar. 
sharajanma tal - An obscure tal of 15 beats. 
shastriya sangeet - Classical music. 
shavarni tal - An obscure tal of seven beats. 
shesh tal - An obscure tal of 19 beats. 
shikhir tal - An obscure tal of 17 beats. 
shikhiravahan tal - An obscure tal of 12 beats. 
shishya - A student, or disciple. 
shisham - Indian rosewood (Dalbergia sisu). 
 
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shobhadham tal - An obscure tal of 22 beats. 
shravannil tal - An obscure tal of 21 beats. 
shruti tal - An obscure tal of 22 beats. 
shuddha - (Lit. "pure") Basic, primary. 
shuddha jati - One of the seven modes which may be derived by simple modulation. 
shuddha swar - A natural note. 
shultal - See sulfak tal. 
sidha - The small wooden right hand drum. 
singhnad tal - An obscure tal of 40 beats. 
sir tal - An obscure tal of six beats. 
sitar - A common long necked fretted instrument. 
sitarkhani - A 16 beat tal which is the same as Punjabi theka. 
sool tal - See sulfak tal. 
soolfak tal - See sulfak tal. 
srotagata yati - This yati is said to flow like a stream. It begins slow and gradually 
increases to a fast conclusion. 
sthai - The primary theme of a classical vocal piece. 
stuti - (Lit. "prayer, praise of God") See bol paran. 
sudarshan tal - An obscure tal of 10 or 20 beats. 
sul tal - See sulfak tal. 
sulfak tal - An old pakhawaj tal of 10 beats. 
sur - 1) A note(See swar.). 2) The pitch of the tabla. 3) The maidan. 
surbahar - A bass sitar. 
Surdas - A great saint who composed many bhajans. 
surmandal - A small harp used to accompany vocalists. 
sushir - A musical instrument characterized by blowing air (flute, shehnai, 
harmonium, etc.) 
swar - A musical note. 
swarlipi - Musical notation. 
swarmalika - A style of singing where the vocalist sings the sargam of the song. 
swarup - (Lit. "shape" or "form") See pakad. 
syahi - The black application on the heads of the tabla. 
 
 - T - 
 
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ta - Fundamental tabla bol of the right hand. 
ta - Fundamental tabla bol. 
taali - See tali. 
tabaliya - A respectful term for a tabla player. 
tabalji - A slightly derogatory term for a tabla player. 
tabla - 1) The pair of Indian hand drums. 2) The right hand drum of the pair. 3) The 
Arabic word for any drum. 
tabla tarang - A musical instrument composed of numerous wooden tabla tuned to 
different pitches. 
tal - 1) The Indian system of rhythm. 2) A particular rhythmic cycle (e.g., tintal, rupak 
tal, etc.) 3) Clapping of hands. 4) (Archaic) A style of timekeeping in the marg 
sashabd kriya characterized by the striking of the stationary left hand with the right 
hand. 
tal-lipi - Percussion notation. 
tal paddhati - A theoretical framework of rhythm. 
tal-vadhya-kachari - A percussion ensemble. 
tali - Clapped. 
talim - 1) Education, training. 2) A body of pedagogic material. 
tamasha - A street performance. 
tamir tal - An obscure tal of 14 beats. 
tamrakarni tal - An obscure tal of nine beats. 
tan - A run of musical notes (i.e., a melodic lick). 
tanpura - A long necked, stringed instrument for providing the drone. 
Tansen - A great musician in the court of the Emperor Akbar. 
tappa - A Punjabi style of semi-classical singing. 
tappa tal - A 16 beat tal. 
tar saptak - The higher octave. 
tarana - A style of singing, originally of Persian origin, today characterized by 
meaningless syllables. 
tasa or tasha - A small drum which is beaten with sticks. 
tasma - The rawhide lacing of the tabla. 
tat - 1) A tabla bol. 2) A plucked string instrument (e.g., sitar,sarod, etc.) 
tawaif - 1) A female entertainer. 2) A prostitute. 
 
216 
 
tavil - A large drum used in south Indian temples. 
te - A tabla bol. 
teental - See tintal. 
tesra - See tisra 
tevra tal - See tivra tal. 
thah - See thanh 
thah dun - A term used by Benares musicians to indicate a composition played twice, 
the second time being twice the speed of the first. 
thanh - 1) Vilambit. 2) Single time. 
thappi - An accompaniment pattern of pakhawaj similar to prakar. 
that - A mode. 
theka - 1) The fundamental rhythmic pattern used for timekeeping. 2) A type of theme 
and variation, similar to peshkar, used by musicians of the Benares gharana. 
thu - A tabla bol. 
thumri - A semiclassical style of singing. 
thumri tal - A 16-beat tal used in the accompaniment of thumri singing. 
thun - A tabla bol. 
ti - Fundamental tabla bol. 
tigun - A layakari of 3:1 (i.e., triple-time.) 
tihai - A cadenza composed of three identical sections. 
tilwara tal - A 16 beat tal similar to tintal. 
timir tal - See tamir tal. 
tin - Fundamental tabla bol. 
tintal - A very common tal of 16 beats. 
tipalli - A type of tihai where each phrase is in a different tempo. 
tisra - Third. 
tisra jati - Triplets. 
tisri tali - Third clap. 
tivra tal - An old pakhawaj tal of seven beats. 
tiya - See tihai. 
toda - A tihai 
todi - 1) A that (mode). 2) The major rag in Todi that. 
top - (Lit. "cannon") A loud paran which characterizes thunder, battles, or similar 
moods. 
 
217 
 
tra - A tabla bol of the right hand. 
tripalli - See tipalli. 
triputa tal - An obscure tal of 8, 9, 11, or 13 beats. 
trital - Tintal, a common 16 beat tal. 
triveni tal - An obscure tal of 19 beats. 
tryastra jati - Any rhythm composed of 3, 6, 12, etc. beats. 
tu - A tabla bol. 
tukada - A small composition containing a small body and a tihai, very similar to 
paran except that the ‗bol‘s‘ do not show a pakhawaj influence. 
tukheda - See tukada. 
tun - A tabla bol. 
turanglila tal - An obscure tal of 10 beats. 
- U - 
 
uday tal - An obscure tal of 12 beats. 
udirn tal - An obscure tal of 16 beats. 
ukshav tal - A rare tal of 10 beats. 
ushakiran tal - A rare tal of 16 beats. 
ustad - A learned man, a master. 
uthan - A cadenza used commonly in dance and tabla solos. This is a type of mukhada 
used as an introductory piece. 
- V - 
varan tal - An obscure tal of eight beats. 
varanabhina tal - An obscure tal of eight or 16 beats. 
varanamanthika tal - An obscure tal of 20 beats. 
vardhan tal - An obscure tal of 19 beats. 
vasant shikhir tal - See Basantshikhir tal. 
vibhag - The measure or "bar". 
vijay tal - An obscure tal of 20 beats. 
vikshep - (Archaic) A style of silent timekeeping (marg nishabd kriya). 
vikshipt - (Archaic) A style of silent timekeeping (deshi nishabd kriya). 
vilambit - Slow tempo. 
vimohi tal - An obscure tal of 13 beats. 
vina - 1) Any stringed instrument. 2) The saraswati vina of south India. 
 
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vinaya - Humility, said to be a prerequisite for discipleship. 
virbhadra tal - An obscure tal of 25 beats. 
virpanch tal - An obscure tal of 20 beats. 
visarjit - (Archaic) A style of silent timekeeping (deshi nishabd kriya). 
visham grah - 1) The process of hiding or de-emphasizing the sam. 2) An archaic term 
referring to the start of the percussion on something other than sam (das pran). 
visham tal - An obscure tal of 18 beats. 
visham yati - An ancient rhythmic form which is constructed so that the changes in 
tempo are calculated to avoid the structure of the tal. Therefore, the structure of the tal 
is consciously hidden. 
Vishnu - The preserver (i.e., God). 
vishnu digambar paddhati - A notational system developed by Vishnu Digambar 
Paluskar. 
Vishnu Digambar Paluskar - A famous Indian musicologist. 
vishnu narayan bhatkhande - A famous Indian musicologist. 
vishnu tal - An obscure tal of 17 or 36 beats. 
vishva tal - An obscure tal of 13 beats. 
vitat - A bowed, string instrument (e.g., violin, dilruba, sarangi, etc.) 
vivadi - A note which is not allowed in a rag. 
- Y - 
 
yati - An obsolete system of patterns of manipulation of lay. See also srotagata yati, 
mridanga yati, pipilika yati, sama yati, gopuchcha yati, damaru yati, or visham yati. 
yati tal - An obsolete tal of six beats. 
yatishekhar tal - An obscure tal of 15 beats. 
 
 Z - 
zarab - (Lit. "To strike") The arrangment of vibhags or ang. 
 
 
 
 
219 
 
References 
 
 Tabla-Vadan, Kala Aur Shastra; Pt. Sudhir Mainkar, 
A.B. Gandharva Mahavidyalaya Mandal, Miraj. 
 Tabla, Pt. Arvind Mulgaonkar, Popular Prakashan, Mumbai 
 Taal Parichay; Pt. Girishchandra Shrivastav, Rubi Prakashan, 
Allahabad 
 Modern Musical Symbols; Wikipedia 
 Concise dictionary of Indian Classical Music-Ashok Ranade 
 Towards the Notation System for Indian Drumming; James Kippen 
 Hindustani Music; Ashok Ranade, National Book Trust, Delhi 
 Solo Tabla Drumming of North India: Its Repertoire, Styles and 
 Performances Practices; Robert Gottlieb, Motilal Banarasidas, New 
Delhi. 
 Vintage Tabla Repertory (Drum compositions of North Indian Classical 
Music – Gert Matthis Wegner. 
 Corvin Ressell.Philosophical reflections taal and tabla 
 JKippen publications 
 The art of Tabla playing - prof Sudhir K. Varma 
 Live concert recordings of Ustad Ahmedjan Tirakwa,Ustad Amir 
Hussain Khan,Ustad Habibuddin khan etc and many more artists. 
 Video recordings and resource material from educational videos on 
www.youtube.com 
 Compositions learnt under the able guidences of my guruji 
pt.somashekharji,pt ravindra yavagal,pt suraj purandareji. 
 Recordings and personal collection of compositions taught to me by 
various maestros pt. Seshgiri hangalji,pt anand 
http://www.youtube.com/
 
220 
 
badamikarji,ptvamanrao mirajkarji,pt.suresh samantji,Ustad fayaz 
khanji,pt Sameer chatterji and many more. 
 Journals from internet and various sources