This is how the Gharanas have formed, incorporating disciples and followers. The Gharana is named after the place where its founder lives.
There are six main schools considered to have made the greatest contributions to the development of Tabla repertory and styles. En la historia del Tabla, seis principales tradiciones son hoy reconocidas como las que han contribuido al desarrollo de repertorios y estilos.
Another important contribution to the creation of this method as well as to my own growth as a musician has been the chance to play alongside and share with other Indian, European and American musicians and Tabla players. To be considered a member of any specific Gharana or school of Tabla requires a specialization within that. Introduction school, which is practically impossible for any non-native musician.
With rare exceptions, you must have some Indian lineage in order to form part of a Gharana. It has never been my intention to seek formal acceptance but rather to humbly continue trying to absorb as much as I, a Westerner, am capable of learning. I feel the time has come to pass on all the knowledge that I have been privileged to acquire.
My main interest is to bring the basic principles of this wonderful instrument, the Tabla, closer to you. I hope this course will be a useful learning tool, and that you can put it to good use. I have decided to present this method in both languages because I believe that both English and Spanish-speaking readers will find it useful to read and understand a text or at least give it a try in both languages.
It is also my humble desire to contribute to awaken an interest in the different languages spoken in America and the world.
Have a good and rhythmic journey! Que sigan los Buenos Ritmos! Rhythm in Indian music forms a solid and well-defined platform upon which instrumentalists and performers can create and compose. In addition, as a code common to all musicians, the rhythm allows them to create complex combinations and rhythmic phrases, which always concur in some point of the Tala or rhythmic cycle that is being played.
The Tabla has its own language of sounds and onomatopoeias that can be recited as well as played. In India all musical instruments are made according to the local customs and traditions.
For this reason, specific measurements and sizes vary depending on the place of origin. El Tabla posee un lenguaje propio de sonidos y onomatopeyas que puede ser tanto recitado como ejecutado en el instrumento.
With the passage of time, the Tabla drums have gradually become smaller, although sometimes a larger-sized Dayan is still traditionally played, especially to accompany vocal performances. In former times, instruments were made of clay or brass, but however good the sound they produced, clay is too fragile, and copper too expensive to be practical. On both drums there is a main leather thong or string called Chot that holds together the body and the Gajra drumhead.
The Dayan and Bayan drumheads are both similar see illustration below :. En la actualidad el Dayan mide aproximadamente entre 25 y 30 cm de alto. En ambos tambores se utiliza el llamado Chot, una cuerda de cuero que mantiene unidos al Gajra parche , el cuerpo y la base de los mismos.
This eliminates undesirable overtones and makes it possible to tune the drums. The Shyahi patch is made of iron shavings mixed with a paste of different sorts of flours. Each manufacturer has his own formula so the composition differs throughout India. In the Punjab region for example a rice paste is sometimes used in the mixture instead of flour.
The addition of iron shavings produces a permanent patch. The mixtures without iron shavings are not permanent and must be replaced or restored constantly.
The material is applied to the drumhead surface in layers of concentric circles so that the edge is thinner than the center of the Shyahi.
The drumheads are made out of goat skin in layers; the external circle or Kinar skin, is stitched next to the edge by means of a fine leather strand, which is then interwoven with a heavy supporting leather ring called Pagri, which forms a rigid frame around the circumference of the drumhead. The Chot is interwoven through the 16 holes placed around the Pagri at the top, then passes around underneath the drum through anoth-. En el Punjab por ejemplo, una pasta de arroz se utiliza a veces como parte de la mezcla en lugar de harina.
El agregado de limaduras de hierro produce una mezcla permanente. Las mezclas que no lo poseen deben ser cambiadas o restauradas constantemente. Esta clase de mezcla se sigue utilizando en el Pakhawaj y el Mridangam, y debe ser removida cada tanto y cambiada. En el Dayan, el Shyahi se ubica justo en el centro del parche, pero en el Bayan se desplaza del centro unos 3 o 4 cm.
La piel de los parches es de cabra y posee varias capas. El Tabla er leather ring called a Gurri. All parts work to hold the drumhead firmly against the body of the drum.
The Chot is tightened in such a way as to increase or decrease the pressure on the drumhead and thus change the tone. On the Dayan drum, cylindrical wooden blocks called Gattha are interlaced with the Chot. These are then struck with a hammer — upwards or downwards — to raise or lower the tension. The Bayan drum has all the components of the Dayan drum, with the exception of these wooden blocks. However, similar wooden blocks can be added to the Bayan drum, when the Chot have stretched.
Some Bayans incorporate a tensing system, consisting of a cotton cord, which can be tightened or released by means of metal rings. Este trenzado hace que el parche se fije con firmeza al cuerpo del tambor.
Bayan with cotton cord and metal rings. The Tabla player sits on the floor with their legs crossed and the Tabla in front. Both drums are placed on the floor over little circular cushions called Adharas, which make it possible to tilt the Bayan and the Dayan drums without sacrificing stability.
The Dayan is always tilted away from the player and sometimes a bit to the left, according to what is most comfortable for each player. The Bayan drum is usually placed with its drumhead parallel to the ground, but some musicians prefer to tilt it a bit, as they do with the Dayan. Note: Remember that Rik is a left-handed Tabla player, therefore he positions the Dayan on his left side. The syllables called Bols or strokes are used in Indian music to express the content of a musical phrase or composition.
Bols serve as a substitute for staff notation, and are very useful for musicians and students to memorize entire compositions. Reciting these syllables — Bols — the musician expresses the technique and rhythmical development of the composition, and then transforms this recited composition into an instrumental performance.
Bols also indicate right or left hand strokes individually, or simultaneous strokes by both hands. There is no literal translation for the bols and they only take on meaning within a musical context. Los Bols se diferencian para el oyente combinando consonantes y vocales que brindan una variedad de sonidos de acuerdo a cada instrumento. Although India is a subcontinent large enough to have an amazing variety of languages, dialects and cultural traditions, the Tabla Bols are generally understood and performed in a similar manner throughout the country.
Each Gharana — music school or family — has its own techniques and styles, but the main Bols are essentially the same for all of them. Chapter I The following section, is comprised of detailed explanations of some Bols, their names, and hand and finger positions for their correct performance on the Tabla, along with graphic examples, depicting the place on the leatherhead where the Bols should be played. Playing position for the Dayan: Place the fingertip of your right-hand ring finger left for left handed touching the middle circle or Sur of the drumhead pictures A, B.
The ring finger acts as axis for your hand, maintaining it in contact with the drumhead. It is also possible to keep your little finger on the middle circle alongside the ring finger, or placed on the Pagri — external ring — as in other techniques see C and D. Note: All the pictures for this method have been taken from a left-handed Tabla player. Please take notice of this fact, and apply the correct positioning for righthanded players. Tenerlo en cuenta para las personas diestras invertir la postura.
The ring finger acts as a pivot, in contact with the drumhead. Your little finger can also remain on the Kinar, as reinforcement for the ring finger. The Ta Bol is the main stroke of the Dayan drum and is often used to tune the high-pitched instrument.
The Bol produces a resonant, expanded sound. El Ta es un Bol resonante de sonido abierto. Te: This Bol is performed by striking the middle circle of the drumhead — Sur — with the index finger, while keeping the ring finger in the same position as in the Ta Bol.
This Bol has a non-resonant, contracted sound. Es un Bol de sonido cerrado no resonante. Note: There is a variation of the Te Bol, when it is used with another Bol such as Ti in a sequence called Tite , which will be explained later in this method. This Bol produces a non-resonant, contracted sound. Shyahi — con el dedo medio y manteniendo el dedo anular apoyado sobre el Kinar como en Ta y Te.
El Bol Ti es un golpe no resonante de sonido cerrado. Note: The index finger is used most of all, in the early stages of Tabla training. Once you have spent sufficient time practicing all the Bols described for the Dayan drum with your index finger, then start using the middle finger for Bols like Ti or Tite. Shyahi or black central circle of the drumhead with your index finger, flicking your wrist and letting your finger bounce back after the stroke is made.
In this Bol, your ring finger does not rest on the Kinar — middle circle — but remains in the air along with your other fingers, following the movement of your entire hand. Tite or Tete: This is a 2-stroke sequence very often used in rhythmic phrases within this method.
It is produced by first striking the Bol Ti on the Shyahi or black circle with your index finger. Then, follows the Bol Te with both middle and ring fingers together. Estos golpes son no resonantes de sonido cerrado. Note: Practice this sequence over and over to acquire confidence, speed and precision.
It is better to start slowly with the Ti and Te , Ti — Te , etc, and then increase the speed bit by bit as you to feel more comfortable with them. It is used very often in Indian rhythmic perform-. First comes the Ti Bol the same bol as in Tite , by striking the Shyahi or black central circle with middle and ring fingers at the same time; then comes the Ri Bol striking with your index finger on the same place, like the Bol Te in Tite.
Then comes the Ki Bol, which is played with the other hand see Bayan Bols , and finally the Ta Bol, which is played the same way as the first Ti of the sequence.
All of these strokes should be played in quick sequence. Practice them over and over again, first slowly then faster, Then try faster: TirikitaTirikitaTirikitaTirikita, etc. Luego: Tirikita TirikitaTirikitaTirikita, etc.
Los golpes de este Bol son todos no resonantes de sonido cerrado. The Bayan Bols contain 2 subgroups: resonant Bols and non-resonant Bols. Each of these groups has a special space in the rhythmic structure of Indian music. It exists in every Tal — rhythmic cycle — within the Indian music system. Playing position for the Bayan: Place the heel of your hand on the center of the Bayan drumhead, then strike the Sur — the space between the Shyahi or black circle and the Kinar or external circle — with the fingertip of either your middle or index finger.
The Bol Ge is produced by striking the drumhead with the fingertip of your middle or index finger over the Sur or middle circle, between the Kinar and the Shyahi. The Sur of the Bayan drumhead is often small, because the Shyahi is placed off-center, unlike the Dayan where all the circles or parts of the head are concentric.
This allows the heel of the hand and wrist to push and release the center of the head, and produce the characteristic glissando sound of the Ge Bol.
Note that the middle finger is used more often than the index finger to perform this Bol. The index finger is used for fast performances, so it can interact with the middle finger. The finger movements are quick and energetic, allowing the finger to strike and bounce back off the drumhead. This technique requires patient, steady prac This technique is one of the most highly esteemed in the art of Tabla playing. It is produced by lightly pressing the drumhead with the heel of your hand, right before or after the Bol has been played.
In this way the pitch can be raised or lowered, as you have probably heard in some recordings and live performances. This feature resembles the sound of the Bayan to the bass guitar because it has a range of about an octave from its original pitch. It is relatively easy to play, and the sound is non resonant and contracted.
Es un Bol bastante sencillo de tocar, y su sonido es no resonante o de sonido cerrado. This Bol has a non-resonant and strong, dry sound. If played together, a stronger accent is achieved. Es un Bol no resonante y de sonido fuerte y seco sonido cerrado. Kat: This Bol is played by striking with the whole open hand from up above de drum.
Also, after the stroke is done, your hand does not bounce off, but remains in contact with the drumhead. The sound of this Bol is non-resonant and dry or contracted. Kat: Este Bol se produce golpeando con toda la mano abierta y por encima del tambor. Luego del golpe la mano no rebota sino que permanece en contacto sobre el parche.
El sonido de este Bol es no resonante y seco o contraido. These Bols are the result of a simultaneous performance of Dayan and Bayan Bols with both hands. Since all of them include the Bol Ge , the sound produced is resonant, open and expanded. Some of them are:. Algunos de estos son:. Note: Again, all these Combined Bols are the result of two strokes played simultaneously.
For example: Take the Ta first and practice it by itself; then take Ge and practice it by itself. Afterwards, practice them simultaneously, producing the Bol Dha. Keep working on it until you get the correct sound, like the one in the CD example. Repeat this process with the whole list of Combined Bols. Es importante practicar cada uno de ellos por separado hasta lograr un sonido claro y correcto.
Repetir el proceso con la lista entera de Bols Combinados. The following exercises are intended to help develop the technique skills and the reading of the different combinations. Lets start with simple phrases, like the first one, and then practice the remaining exercises. These are not rhythmic cycles or Talas, but only examples for training and practice purposes. Talas will be shown later in this method.
Practice the same way repeating one Bol or stroke over and over again. Also practice all the other Bols for Dayan and Bayan drums previously explained:. Comenzamos con frases simples y luego practicamos el resto de los ejercicios. It is suggested to recite the Bols out loud, in order to stimulate the auditive memory. Ahora, tengan a bien continuar practicando el resto de los ejercicios sin la ayuda del CD.
Se recomienda recitar en voz alta los Bols, para estimular la memoria auditiva. Matra: This is a basic measure of time — beat — used in the Industani music system of North India. A Matra does not have any specific length, but is designed according to the Lay — tempo or speed — of the performance , that musicians suggest — or agree — as the appropiate one for that particular performance. Veamos el grafico que sigue:. Lay: Means speed or tempo for each music performance or composition.
As explained earlier, there are 3 standard Lay categories, described as follow:. In the examples depicted throughout this method, the time value of each Matra in relation to the pattern of Bols or strokes per second, is suggested using underlines. For example:.
Para cualquier tempo o velocidad adjudicado, el valor del Matra permanece constante. Algunos ejemplos:. The following exercises are composed of Matras or beats with several Bol patterns, for example: Dha Dhina. This phrase has 2 Matras or beats , during which three Bols are played. Each Matra contains a different Bol pattern, indicated by underlining the Bols. Therefore, it could be said that within the first Matra, Dha is equivalent to one quarter-note or q in the Western-style notation, while within the second Matra, Dhina is equivalent to two eight-notes or ee.
Por ejemplo: Dha Dhina. In Indian music, the rhythmic organization is basically based in a structure of rhythmic cycles and patterns, which are continuously repeated during a music performance. These cycles are called Tal or Talas. Each Tal or Tala has a fixed number of Matras or beats, and also a specific subdivision called Vibhag s or Bar s. Within these Vibhags a specific number of Matras is placed. Talas have a particular characteristic that is given by specific accents or stressed strokes, each of them placed throughout the different Vibhags.
These accents also have a specific degree of importance inside the Tala structure: The main or principal accent is called Sam, the secondary accent is the Khali, and the minor accents are the Tali. We will refer to these topics again later in this method.
Tin Tal has a cyclic pattern with 16 Matras subdivided into 4 Vibhags containing 4 Matras each. See the graphic below:. Therefore, when a composition is performed in Tin Tal, it has two similar phrases with 8 Matras each. These phrases complement each other in a sense that the first one has all resonant Bols in it, while the second phrase substitute its first half with non-resonant Bols.
Estas frases se complementan unas con otras en el sentido de que la primera frase se compone de golpes resonantes, mientras que la segunda sustituye por golpes no resonantes la primera mitad de su frase. Instead of counting the beats or Matras, they focus on the Bars or Vibhags, and when the Khali Vibhag or empty bar arrives, they can understand exactly where they are in the Tala or rhythmic cycle.
The following example shows the different accents, its symbols, and where they are placed throughout the different bars of the Tin Tal rhythmic cycle. Follow the Theka Tal by listening to the accents. The Bol stressed with Sam is played louder than all the rest. It marks the beginning of a Tala.
Khali: This accent is the second in importance after the Sam. A wave with the hand is used to mark the Khali accent. Sam: Este acento marca el comienzo de un Tal y es su acento principal. The Bol stressed with Tali should be played a little louder than the others, but less than the Sam. Tali: Este acento es llamado menor, y es el menos importante.
All these symbols have an important role in the counting sequence of the Tala. This counting should be made along with hands and fingers, clapping and waving gestures with the entire hand for each Vibhag, plus finger counting the Beats or Matras of the Tala. At the same time in order to know in which Vibhag one is located, clap each Sam and Tali accents, and then clap with the back of the hand or make a wave movement without any sound when the Khali accent comes on the way.
The remaining Matras are counted with the little, ring and middle fingers respectively. Al mismo tiempo, y con el fin de recordar en que Vibhag uno se encuentra, palmear cada acento Sam y Tali. Luego palmear con el dorso de la mano o hacer el gesto curvo en el aire cuando aparece el acento Khali. It is time now to start with the Fixed Compositions. At this point it is essential to have memorized and practiced all the information we have explained earlier in this method, otherwise it will be almost impossible to understand the following section.
Here is an example of a theme of the Kaida 1 that has been composed in Tin Tal. Ha llegado el momento de comenzar con el tema: Composiciones Fijas. When the non-resonant Bols appear in the Khali Vibhag, it substitutes the sound Ge with the Ke when just a Ge , or omits it altoghether, playing only non-resonant Bols; for example, Dha changes to just Ta.
After this, the composition continues without further modifications. Los Bols no resonantes que aparecen en el Khali Vibhag sustituyen al Bol resonante Ge , por Ke en el caso de ser Ge solo , o lo omiten por completo en el caso de ser un Bol combinado; por ejemplo: Dha cambia a Ta. You may cancel online at any time during your subscription by contacting worldwarii emailcustomerservice. American History is the leading popular magazine that explores the rich texture of the American experience.
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