TABLA

The tabla though in the singular is the name given to the two drums that are either played as an accompaniment to other instruments or vocalists; or as a solo performance. This is one of the essential instruments of the Hindustani music forms and is also regarded as This is also regarded as the principal percussion instrument of Hindustani music.

One of the drums is made to create high-pitched sounds and the other one is used for low pitch sounds. Generally, the one with high pitch is played by the right hand and the low-pitched is played by the left hand. The right hand drum is also known as dahina and then left one is known as bayan. One can make out the difference between the two, as the dahina gives rise to a number of resonant ringing and clicking sounds. Whereas the bayan produces swooping bass sounds

Both the drums have a large black spot their playing surfaces. These spots are made from a mixture of gum, soot and iron filings. Their primary function is to bring about a bell-like resonance, which is one of the outstanding characteristics of this percussion instrument.

After the initial days of the tabla being invented, various musicians created their own schools of playing thereby bringing into being a number of Tabla Gharanas. Each one had a peculiar style and form, which was carried forward for generations. These include:

•        Delhi Gharana

•         Ajrara Gharana

•         Benares Gharana

•         Farukhabad Gharana

•         Lucknow Gharana

•         Punjab

  In general a tabla solo performance is divided into 5 stages, which are:

1.       Uthan or Mohra: This is the prelude or introductory piece. It usually begins slowly and flows into a crescendo to lay the ground for the next stage of performance.

2.        Peshkar is the first performance of the concert. In this stage the musician is given an opportunity to warm up for the rest of the show.

3.         Kaida is the central section or the part where the theme is elaborated. This word actually means ‘rule’. The musician generally begins this section with a preconceived composition and as he or she goes through it they add improvisations.

4.         Tukda are the small short compositions that follow the kaida.

5.         Gatactually means gait and this stage marks the steady movement of the rhythms emanated by the tabla player.

 Rela means rushing or flooding. In this section the tabla player plays rapidly non-stop till he or she reaches the finally beat. This is like the grand finale of every stage performance.