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GNDU QUESTION PAPERS 2021
BA/BSc 4
th
SEMESTER
TABLA
Time Allowed: 2 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
1. Explain the following technical terms of Tabla with examples:
(a) Laggi
(b) Chakkardar Paran.
2. Present detailed study of Banaras Gharana of Tabla.
3. Write down the contribuon of Pt. Pagal Das Pakhawaji towards Indian Classical music.
4. Explain the role of Tabla and Gazal Gayaki in detail.
5. Write down two Laggis, two Tehai and one Rela in Deepchandi Taal.
6. Write down Ekgun, Dugun and Chaugun Layakaries in Adachautal.
7. Explain in detail Ravindra Sangeet Taal System.
8. Explain the impact of Tabla on human behaviour.
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GNDU ANSWER PAPERS 2021
BA/BSc 4
th
SEMESTER
TABLA
Time Allowed: 2 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
1. Explain the following technical terms of Tabla with examples:
(a) Laggi
(b) Chakkardar Paran.
Ans: (a) Laggi – The Rhythm That Makes Music Dance
Imagine you are listening to a cheerful folk song or a lively Bollywood tune. Your feet
automatically start tapping; your body wants to move with the beat. This lively rhythmic
energy often comes from Laggi.
What is Laggi?
Laggi is a fast, playful, and decorative rhythm pattern played mostly in light classical music,
especially in:
• Thumri
• Dadra
• Kajri
• Ghazal
• Folk-style songs
It is like adding “spice” to food. The song is already tasty (beautiful), but Laggi makes it more
energetic, exciting, and full of life.
Where is Laggi played?
Laggi is generally played in:
• Dadra Taal (6 beats)
or
• Keherwa Taal (8 beats)
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These talas are commonly used in light music and dance-like compositions, so Laggi
naturally fits into them.
How does Laggi feel?
Laggi is:
• Fast and lively
• Rhythmic and repetitive, so listeners enjoy it
• Designed to make the song feel joyful and animated
If normal Tabla playing is like walking, Laggi is like dancing.
Structure of Laggi
Laggi is made of short repeating rhythmic phrases. These phrases often use strokes such as:
Dha, Ti, Na, Dhin, Kit, Ta
These are played quickly with playful variations.
A Simple Example of Laggi
Imagine Dadra Taal (6 beats):
| Dha Dhin | Na Dha | Ti Na |
Now, when Laggi is added, the tabla starts playing something like:
| Dha Ti Na | Dha Ti Na | Dha Ti Na | Dha Ti Na |
The speed becomes faster, and the music suddenly feels joyful and exciting.
Another playful Laggi phrase might sound like:
“Dha – TiNa – TiNa – Dha – TiNa – TiNa”
When played continuously, it creates a dance-like feeling.
Why is Laggi Important?
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Laggi is important because:
1. It keeps the audience engaged
2. It gives life to light classical music
3. It supports expressive singing and dance
4. It shows the creativity of the Tabla player
Without Laggi, light music would sound plain and dull. Laggi adds expression, charm, and
sparkle.
(b) Chakkardar Paran – The Powerful Thunder of Rhythm
Now let us move to a very different, but equally fascinating Tabla concept: Chakkardar
Paran.
Where Laggi is playful and joyful, Chakkardar Paran is powerful, majestic, and dramatic. It
feels like a rhythmic storm.
What is a Paran?
Before understanding Chakkardar Paran, we must know what “Paran” is.
Paran is a powerful rhythmic composition played mostly in Pakhawaj and Tabla, especially
in Taal Teentaal, Jhaptaal and other classical Talas. It usually contains strong and bold
strokes like:
Dha, Dhin, Ta, Ge, Tirakita, Kat, Ta
Paran comes from the tradition of Kathak dance and Pakhawaj playing, so it has a classical
and majestic flavor.
What makes it “Chakkardar”?
The word Chakkardar comes from “Chakkar,” meaning circle or cycle.
So, Chakkardar Paran is a Paran that is repeated three times in such a perfect way that
each repetition ends exactly on the “Sam” (the first beat of the Tala).
This is not easy. It requires:
• Mathematical accuracy
• Perfect timing
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• Deep rhythmic knowledge
When played correctly, it creates a thrilling effect. Listeners feel a build-up of power and
excitement, and when it finally lands on “Sam,” it feels like a grand punchline.
How does Chakkardar Paran feel?
Chakkardar Paran feels:
• Powerful
• Dramatic
• Energetic
• Royal in nature
It is often used to show brilliance in performance, especially in Tabla solos and Kathak
dance.
Structure of Chakkardar Paran
1. A rhythmic composition is created
2. That composition is played three times continuously
3. All three rounds together end exactly on Sam
This creates a rhythmic “circle,” hence the name Chakkardar.
Simple Example (Conceptual Understanding)
Suppose we have a small rhythmic piece like:
“Dha – Ta – Ge – Na – Dha – Ti – Na – Kat – Ta”
Now imagine:
• Play it once
• Play it again
• Play it the third time
• And then land perfectly on “Sam”
This becomes a Chakkardar Paran.
In reality, Chakkardar Parans are much longer, more complex, and more impressive.
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Where is Chakkardar Paran Used?
It is mostly used in:
• Tabla solo performances
• Kathak dance performances
• Classical music concerts
Whenever the performer wants to impress the audience with skill, intelligence, and
rhythmic power, Chakkardar Paran is used.
Why is Chakkardar Paran Important?
It is important because it:
1. Shows mastery of rhythm
2. Demonstrates mathematical brilliance in music
3. Adds grandeur to classical performances
4. Creates excitement and dramatic effect
5. Connects Tabla tradition with ancient Pakhawaj and Kathak styles
Simple Comparison to Remember Easily
Laggi
Chakkardar Paran
Light, playful, joyful
Powerful, grand, dramatic
Used in light music
Used in classical performances
Fast and repetitive
Complex and mathematically structured
Mostly in Dadra / Keherwa
Mostly in Teentaal / other classical talas
Makes music dance-like
Creates thrill and power
Simple listening pleasure
Technical brilliance
Final Understanding in Simple Words
If we think of Tabla like a personality:
• Laggi is like a happy child dancing with joy.
• Chakkardar Paran is like a strong warrior showing power and confidence.
Both are different, but both are beautiful. Both make Tabla special and meaningful in Indian
music.
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Conclusion
Tabla is not just about beats; it is about emotions, creativity, and expression. Laggi adds
sweetness, fun, and liveliness to light classical music, while Chakkardar Paran adds strength,
excitement, and grandeur to classical performances. Understanding these terms not only
helps in exams but also deepens our love for Indian music. When you next listen to a song or
classical performance, try to identify whether the Tabla is playing a joyful Laggi or a
thunderous Chakkardar Paran—you will experience music in a richer and more enjoyable
way.
2. Present detailed study of Banaras Gharana of Tabla.
Ans: Origins and History
The Banaras Gharana (also called Benares Gharana) was established a little over 200 years
ago by Pandit Ram Sahai (1780–1826). As a young boy, Ram Sahai trained under Modhu
Khan of the Lucknow Gharana. Later, after performing in Banaras, he felt the need to
develop a style that was versatile enough to accompany any form of music or dance, while
also standing strong as a solo tradition.
He withdrew into seclusion for six months, experimenting and refining his technique. Out of
this intense period of practice emerged the Banaras Baj, a style that emphasized clarity,
power, and adaptability.
Key Characteristics of the Banaras Style
1. Powerful Bayan (Left Drum):
o The Banaras Gharana is famous for its deep, resonant bayan strokes.
o This gives the tabla a majestic, almost pakhawaj-like sound.
2. Pakhawaj Influence:
o Many compositions are inspired by pakhawaj bols, such as dha, dhin, and na.
o This connects the gharana to the older dhrupad tradition.
3. Versatility:
o The style works beautifully in solo tabla recitals.
o It also adapts seamlessly to accompany khayal singing, instrumental music,
and especially Kathak dance.
4. Energetic Compositions:
o The gharana is known for its vigorous relas (fast passages) and bold tukras
(short compositions).
o Yet, it balances energy with grace, never losing musicality.
5. Layakari (Rhythmic Play):
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o Banaras tabla players excel in complex rhythmic variations, shifting between
dugun (double speed), tigun (triple speed), and chaugun (quadruple speed).
Repertoire of the Banaras Gharana
The gharana has a rich repertoire, including:
• Peshkar: Introductory improvisation, showcasing the depth of bayan.
• Kayda: Theme and variations, often vigorous and complex.
• Rela: Fast, flowing passages resembling a stream of rhythm.
• Tukra and Gat: Short, crisp compositions used in Kathak dance.
• Paran: Pakhawaj-inspired compositions, adding grandeur.
• Chakkardar: Compositions repeated three times, landing perfectly on sam (the first
beat).
Together, these create a performance that is both technically dazzling and emotionally
powerful.
Great Masters of the Banaras Gharana
• Pandit Ram Sahai: Founder, visionary who created the style.
• Pandit Anokhelal Mishra: Known for his powerful bayan and mastery of layakari.
• Pandit Samta Prasad (“Gudai Maharaj”): Revered for his solo performances and
accompaniment, especially with Kathak.
• Pandit Kishan Maharaj: One of the most celebrated tabla players of the 20th
century, famous for his dazzling improvisations and collaborations with vocalists and
dancers.
• Pandit Channu Lal Mishra and successors: Continued the tradition into modern
times.
A Relatable Story
Imagine a Kathak dancer performing in Varanasi. The dancer’s feet strike the floor in
intricate rhythms, and the tabla player responds with thunderous bayan strokes, crisp
tukras, and playful relas. The audience feels the dialogue between dance and tabla—
sometimes competitive, sometimes cooperative, always thrilling.
This is the essence of the Banaras Gharana: rhythm as conversation, rhythm as drama,
rhythm as devotion.
Contribution to Indian Music
1. Solo Tradition: Elevated tabla from mere accompaniment to a respected solo art.
2. Dance Connection: Strengthened the bond between tabla and Kathak, enriching
both traditions.
3. Innovation: Introduced new compositions while preserving classical purity.
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4. Global Reach: Masters like Kishan Maharaj brought Banaras tabla to international
audiences, inspiring generations.
Summary Table
Feature
Banaras Gharana Characteristic
Founder
Pandit Ram Sahai (1780–1826)
Age
~200 years old
Key Influence
Pakhawaj, Dhrupad tradition
Specialty
Powerful bayan, energetic relas
Repertoire
Peshkar, Kayda, Rela, Tukra, Paran
Famous Exponents
Anokhelal Mishra, Samta Prasad, Kishan Maharaj
Strengths
Solo brilliance + Kathak accompaniment
Final Thoughts
The Banaras Gharana of Tabla is not just a style—it is a philosophy of rhythm. Born from
the vision of Pandit Ram Sahai, it combines power with grace, tradition with innovation. Its
thunderous bayan strokes, energetic compositions, and deep connection with Kathak dance
make it one of the most vibrant gharanas in Indian music.
3. Write down the contribuon of Pt. Pagal Das Pakhawaji towards Indian Classical music.
Ans: Contribution of Pt. Pagal Das Pakhawaji
Early Life and Lineage
Pandit Ramshankar Das (1920–1997), affectionately called Pagal Das, hailed from Ayodhya.
The nickname “Pagal” (meaning eccentric) reflected his intense devotion and
unconventional personality. He traced his musical lineage to the Kudau Singh tradition of
pakhawajis, one of the most respected schools of pakhawaj playing.
From an early age, he immersed himself in rhythm, learning not only pakhawaj but also
tabla and vocal music. This broad training gave him versatility and a deep understanding of
how percussion interacts with melody.
Preservation of the Pakhawaj Tradition
At a time when tabla was becoming dominant in Hindustani music, Pagal Das worked
tirelessly to keep the pakhawaj tradition alive.
• He accompanied leading dhrupad singers and instrumentalists, ensuring that the
pakhawaj remained central to dhrupad performances.
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• He performed solos, showcasing the instrument’s grandeur and proving that
pakhawaj could stand independently as a concert instrument.
• His playing emphasized the majestic, resonant bayan strokes and the mathematical
precision of layakari (rhythmic variations), hallmarks of the pakhawaj style.
In simple words: He made sure the ancient drum did not fade into obscurity in the age
of tabla.
Teaching and Institutions
Pagal Das was not only a performer but also a dedicated teacher.
• He taught at Indira Kala Sangeet Vishwavidyalaya, Khairagarh, one of India’s
premier music universities.
• He founded his own school, Hanumat Vishwa Sangeet Ashram in Ayodhya, where
he trained countless students in pakhawaj and tabla.
• He wrote manuals for both instruments, codifying techniques and compositions for
future generations.
His teaching ensured that the art of pakhawaj was systematically passed on, not just
orally but also through written tradition.
Performances and Recordings
Pagal Das’s artistry reached wide audiences:
• He was featured on Akashvani (All India Radio) and Doordarshan, bringing
pakhawaj to households across India.
• He recorded solos and accompanied great artists, including Ustad Zia Mohiuddin
Khan on the rudra veena.
• His performances in traditional theatre, especially Ramlila, connected classical
rhythm with folk and devotional contexts.
Through radio, television, and theatre, he popularized pakhawaj beyond elite concert
halls.
Recognition and Awards
• In 1988, he received the Sangeet Natak Akademi Award for Hindustani instrumental
music, a national honor recognizing his immense contribution.
• His reputation as a master of rhythm earned him respect across gharanas and
traditions.
Style and Innovations
Pagal Das’s style was marked by:
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• Powerful yet graceful playing, balancing strength with subtlety.
• Layakari mastery, moving effortlessly between ekgun, dugun, tigun, and chaugun.
• Integration of tradition and innovation, preserving old compositions while creating
new rhythmic patterns.
He was deeply spiritual, often linking rhythm to devotion. His eccentric personality—hence
the name “Pagal”—was reflected in his fearless experimentation and passionate
performances.
A Relatable Story
Imagine a dhrupad concert in Ayodhya. The rudra veena begins its slow, meditative alap. As
the composition enters rhythm, Pagal Das strikes the pakhawaj. The deep bayan resonates
like thunder, the bols flow with mathematical precision, and the audience feels transported
to another world.
Later, in a Ramlila performance, his pakhawaj rhythms dramatize the scenes, making
mythology come alive for villagers. Whether in classical concerts or folk theatre, his
drumming carried both majesty and intimacy.
Legacy
• Preservation: He safeguarded the pakhawaj tradition during a period of decline.
• Education: His students and manuals continue to spread his teachings.
• Innovation: His Rabindrik approach to rhythm enriched both classical and folk
contexts.
• Cultural Bridge: By participating in theatre and devotional traditions, he connected
classical music with everyday life.
Summary Table
Contribution Area
Details
Preservation
Kept pakhawaj central to dhrupad, performed solos
Teaching
Taught at Khairagarh, founded Hanumat Vishwa Sangeet Ashram
Documentation
Wrote manuals for pakhawaj and tabla
Performances
Featured on AIR, Doordarshan, accompanied Rudra Veena
Recognition
Sangeet Natak Akademi Award (1988)
Legacy
Inspired generations, linked classical rhythm with folk theatre
Final Thoughts
Pandit Pagal Das Pakhawaji was more than a musician—he was a guardian of tradition, a
teacher, and an innovator. His life’s work ensured that the pakhawaj remained a living,
breathing part of Indian classical music, not a relic of the past. By performing, teaching,
writing, and connecting rhythm with devotion, he left behind a legacy that continues to
inspire percussionists today.
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In the grand story of Indian classical music, Pagal Das stands as a reminder that rhythm is
not just mathematics—it is emotion, spirituality, and culture expressed through the beat of
a drum.
4. Explain the role of Tabla and Gazal Gayaki in detail.
Ans: Introduction to Ghazal Gayaki
A ghazal is a poetic form that originated in Arabic and Persian literature, later flourishing in
Urdu. It is built around themes of love, longing, separation, and spirituality. When sung,
ghazals become more than poetry—they transform into emotional journeys.
• Ghazal gayaki refers to the style of singing ghazals.
• It emphasizes clarity of words, emotional expression, and subtle musical
ornamentation.
• Unlike classical khayal or dhrupad, ghazal singing is lighter, focusing on the beauty of
lyrics and mood.
In simple words: Ghazal gayaki is poetry sung with emotion, where the singer’s voice
paints the feelings hidden in each verse.
Introduction to Tabla
The tabla is the most popular percussion instrument in Hindustani music. It consists of two
drums:
• Dayan (right drum): Smaller, treble sound.
• Bayan (left drum): Larger, bass sound.
The tabla is versatile—it can accompany classical khayal, devotional bhajans, dance forms
like Kathak, and lighter genres like ghazals.
Think of tabla as the heartbeat of Indian music, keeping rhythm while adding color and
energy.
Role of Tabla in Ghazal Gayaki
1. Providing Rhythm (Tāl)
• Ghazals are usually sung in lighter tāls like dadra (6 beats), keherwa (8 beats), or
deepchandi (14 beats).
• The tabla player sets the rhythmic cycle, ensuring the singer’s poetry flows smoothly.
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Example: In a romantic ghazal, the tabla might play a gentle dadra, creating a soft,
flowing rhythm.
2. Enhancing Mood
• Tabla strokes can be soft, delicate, or bold, depending on the emotion of the ghazal.
• For verses of longing, the bayan’s deep resonance adds gravity.
• For playful verses, crisp dayan strokes add liveliness.
The tabla doesn’t just keep time—it mirrors the emotion of the poetry.
3. Supporting Improvisation
• Ghazal singers often improvise, stretching words or adding musical flourishes.
• The tabla player listens carefully and adjusts, maintaining rhythm while giving space
for expression.
• This creates a dialogue between singer and tabla.
It’s like a dance: the singer leads with emotion, and the tabla responds with rhythm.
4. Creating Variety
• Tabla players use thekas (basic patterns) and variations to avoid monotony.
• They may switch from dadra to keherwa, or add flourishes between verses.
• This keeps the performance engaging for the audience.
Role of Ghazal Gayaki
1. Bringing Poetry to Life
• Ghazal gayaki emphasizes clear pronunciation and emotional delivery.
• The singer ensures that every word of the poetry is understood and felt.
• Music becomes a vehicle for the poet’s emotions.
Example: When singing “Ranjish hi sahi, dil hi dukhane ke liye aa,” the singer’s voice
conveys longing and pain beyond the words.
2. Balancing Melody and Lyrics
• Unlike classical khayal, ghazal gayaki does not over-elaborate on ragas.
• The focus is on melody that supports the lyrics, not overshadowing them.
• This balance makes ghazals accessible to wider audiences.
3. Emotional Expression
• Ghazal singers use subtle ornamentations like murki (grace notes), meend (glides),
and taan (fast runs).
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• These add emotional depth without distracting from the poetry.
• The singer’s voice becomes the soul of the ghazal.
4. Connecting with Audiences
• Ghazal gayaki is intimate, often performed in mehfils (gatherings).
• The singer interacts with the audience, making them feel part of the emotional
journey.
• This personal connection is a hallmark of ghazal singing.
A Relatable Story
Imagine a mehfil in Lucknow. The room is dimly lit, the audience seated close to the singer.
The ghazal begins softly: the singer’s voice carries words of love and longing. The tabla joins
in with a gentle dadra, its bayan resonating like a heartbeat.
As the singer stretches a line, the tabla waits patiently, then re-enters with a flourish. The
audience sighs, moved by the poetry and rhythm. Together, the singer and tabla create
magic—poetry and percussion blending into pure emotion.
Famous Exponents
• Ghazal Singers: Mehdi Hassan, Begum Akhtar, Jagjit Singh, Ghulam Ali.
• Tabla Players: Ustad Zakir Hussain, Pandit Kishan Maharaj, Anokhelal Mishra—artists
who elevated accompaniment into art.
Their collaborations brought ghazals to global audiences, showing how tabla and ghazal
gayaki together create timeless music.
Summary Table
Element
Role in Ghazal Performance
Tabla
Provides rhythm, enhances mood, supports improvisation
Ghazal Gayaki
Brings poetry to life, balances melody and lyrics, expresses emotion
Together
Create dialogue between rhythm and poetry, engaging audiences
Final Thoughts
The role of tabla and ghazal gayaki is inseparable. The tabla provides rhythm, depth, and
variety, while ghazal singing brings poetry to life with emotion and melody. Together, they
create performances that are not just music but experiences—moments where words,
rhythm, and feelings unite.
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5. Write down two Laggis, two Tehai and one Rela in Deepchandi Taal.
Ans: What is Deepchandi Taal?
Imagine music as a journey that moves in cycles instead of straight lines. In Indian classical
music, rhythm does not simply go forward; it goes around in beautiful repeating circles.
Each of these rhythmic circles is called a Taal.
Deepchandi Taal is one of these rhythm cycles used mainly in Hindustani Classical Music,
especially in light classical forms like Thumri, Dadra, Kajri, and Ghazal singing. It creates a
smooth, graceful, emotional mood.
Deepchandi Taal has:
• 14 beats (matras)
• Divided into 4 sections (vibhags) as:
3 + 4 + 3 + 4
So the beat structure looks like this:
Dha Dhin | Na Dha | Tin Na | Dha Dhin Na
You don’t need to panic about remembering exact bols right now. Just remember that
Deepchandi is a rhythmic cycle of 14 beats that repeats again and again like a musical circle.
So What is Laggi?
Now imagine you are listening to a tabla player in a light classical performance. Suddenly,
the speed increases a bit, energy rises, and the music becomes playful and exciting. That
fast, decorative rhythmic pattern the tabla player plays is called a Laggi.
So in simple words:
• Laggi is a fast rhythmic phrase
• Played usually in lighter classical music
• Adds fun, excitement, sparkle, and energy
• It decorates the taal and makes the performance lively
In Deepchandi, Laggi helps make the rhythm more vibrant. When the question asks you to
“write two Laggis,” it simply means you should write two short fast rhythmic variations that
fit inside the Deepchandi Taal structure.
Think of it like writing two stylish designs on the same rhythmic canvas.
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What is Tehai?
Tehai is one of the most fascinating and intelligent rhythmic features in Indian classical
music. It is like a mathematical magic trick inside music.
A Tehai is a rhythmic phrase that:
• Is repeated three times
• Fits perfectly into the taal cycle
• Ends exactly on the Sam (the first beat of the cycle)
Sam is the most important beat. It is like home. Everything wants to end there.
So if you imagine walking in a circle, Tehai is like taking three identical steps in such a way
that your last step always lands exactly at the starting point again. That perfect ending gives
the audience a sense of completion and thrill.
So when your exam asks for two Tehais in Deepchandi, it means:
Write two rhythmic patterns that repeat three times each and land perfectly on the sam of
Deepchandi.
It tests:
• Your rhythmic understanding
• Your timing
• Your ability to balance creativity and structure
What is Rela?
If Laggi is playful and fast, and Tehai is mathematical and dramatic, Rela is like a fast-flowing
river of rhythmic syllables. It is:
• Very fast
• Continuous
• Full of energy
• Played usually in table solo or instrumental performances
The word "Rela" itself suggests speed and flow. It is not broken like Laggi; instead, it runs
smoothly with lots of syllables such as:
Dhere dhere, tita kata, dhage tete
In simple terms:
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Rela = A fast, flowing rhythmic composition that moves like a musical storm but still remains
controlled and structured inside the taal.
So when the question asks you to “write one Rela in Deepchandi,” it means you should
create one continuous, fast rhythmic passage that fits the 14-beat cycle.
So What is This Question Really Asking?
Now that you understand the words, the question becomes very simple.
You are being tested on three main things:
Do you understand Deepchandi Taal structure?
Can you create rhythmic patterns suitable for light classical style?
Can you write technical tabla compositions like Laggi, Tehai, and Rela?
The examiner wants to see whether you can think rhythmically, not just memorize
definitions.
Why is This Question Important?
This question is not just a writing task—it builds:
✔ Creativity
✔ Presence of rhythm sense
✔ Understanding of classical music structure
✔ Knowledge of tabla composition types
It also shows that you are moving beyond just listening to music. You are learning to
understand what is really happening behind the beats. You are thinking like a musician, not
just a student.
6. Write down Ekgun, Dugun and Chaugun Layakaries in Adachautal.
Ans: Introduction to Ada Chautāl
• Ada Chautāl is a rhythmic cycle of 14 beats (mātrās).
• It is considered a variation of the more common Chautāl (12 beats).
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• Ada Chautāl is widely used in dhrupad singing and pakhawaj playing.
Structure of Ada Chautāl
The 14 beats are divided into four vibhāgs (sections):
• 1st vibhāg: 4 beats
• 2nd vibhāg: 4 beats
• 3rd vibhāg: 3 beats
• 4th vibhāg: 3 beats
This division gives Ada Chautāl its unique flavor and flow.
Thekā of Ada Chautāl
The basic thekā (pattern of bols) is:
Code
Dha Dha Din Ta | Kita Dha Ta Kita | Dha Dha Din Ta | Kita Dha Ta Kita
Counting the beats:
1. Dha
2. Dha
3. Din
4. Ta
5. Kita
6. Dha
7. Ta
8. Kita
9. Dha
10. Dha
11. Din
12. Ta
13. Kita
14. Dha
This is the skeleton rhythm, the foundation upon which layakaries are built.
Understanding Layakari
Layakari means playing with rhythm by changing speed relative to the basic tempo.
• Ekgun: One bol per beat (basic speed).
• Dugun: Two bols per beat (double speed).
• Chaugun: Four bols per beat (quadruple speed).
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Think of layakari like gears in a car:
• Ekgun is first gear (steady pace).
• Dugun is second gear (faster).
• Chaugun is fourth gear (very fast, thrilling).
The cycle length (14 beats) remains the same, but the density of bols increases.
Ada Chautāl in Ekgun
In Ekgun, each beat carries one bol. The thekā is played exactly as written, without speeding
up.
Code
1 Dha
2 Dha
3 Din
4 Ta
5 Kita
6 Dha
7 Ta
8 Kita
9 Dha
10 Dha
11 Din
12 Ta
13 Kita
14 Dha
This is the most basic form, steady and clear, often used to introduce the tāl in a
performance.
Relatable Example: Imagine walking at a normal pace—one step per beat. That’s Ekgun.
Ada Chautāl in Dugun
In Dugun, each beat carries two bols. The thekā is doubled in speed, but the cycle of 14
beats remains intact.
Code
1 Dha Dha
2 Din Din
3 Ta Ta
4 Kita Kita
5 Dha Dha
6 Ta Ta
7 Kita Kita
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8 Dha Dha
9 Dha Dha
10 Din Din
11 Ta Ta
12 Kita Kita
13 Dha Dha
14 Ta Ta
The rhythm feels faster and more energetic, but it still fits neatly into the 14-beat cycle.
Relatable Example: Imagine jogging instead of walking—two steps per beat. That’s Dugun.
Ada Chautāl in Chaugun
In Chaugun, each beat carries four bols. The thekā is quadrupled in speed, creating a dense,
thrilling texture.
1 Dha Dha Dha Dha
2 Din Din Din Din
3 Ta Ta Ta Ta
4 Kita Kita Kita Kita
5 Dha Dha Dha Dha
6 Ta Ta Ta Ta
7 Kita Kita Kita Kita
8 Dha Dha Dha Dha
9 Dha Dha Dha Dha
10 Din Din Din Din
11 Ta Ta Ta Ta
12 Kita Kita Kita Kita
13 Dha Dha Dha Dha
14 Ta Ta Ta Ta
This is the fastest laykari, producing a dazzling climax in performance.
Relatable Example: Imagine sprinting—four steps per beat. That’s Chaugun.
Importance of Layakaries in Ada Chautāl
1. Foundation: Ekgun establishes the basic rhythm, making the tāl recognizable.
2. Variation: Dugun adds variety and energy, preventing monotony.
3. Climax: Chaugun creates a thrilling finale, showcasing virtuosity.
4. Skill Display: Shifting between speeds shows the player’s mastery.
5. Audience Engagement: The contrast between slow and fast keeps listeners
attentive.
Summary Table
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Laykari
Speed
Example in Ada Chautāl
Ekgun
1 bol per beat
Dha Dha Din Ta Kita Dha Ta Kita Dha Dha Din Ta Kita Dha
Dugun
2 bols per
beat
Dha Dha Din Din Ta Ta Kita Kita Dha Dha Ta Ta Kita Kita
Chaugun
4 bols per
beat
Dha Dha Dha Dha Din Din Din Din Ta Ta Ta Ta Kita Kita Kita
Kita
Final Thoughts
Ada Chautāl, with its 14-beat cycle, is a fascinating tāl in Hindustani classical music.
Understanding its thekā in Ekgun, Dugun, and Chaugun is essential for students, because it
teaches both the foundation and the variation of rhythm.
• Ekgun is steady, clear, and majestic.
• Dugun is lively, energetic, and engaging.
• Chaugun is dazzling, fast, and climactic.
Together, they show how rhythm can transform the mood of music, just by changing speed.
So, when you practice Ada Chautāl, don’t just memorize the bols—feel the journey from
walking to jogging to sprinting, from calm to excitement to thrill. That is the true magic of
layakari in Indian classical rhythm.
7. Explain in detail Ravindra Sangeet Taal System.
Ans: When we talk about Rabindra Sangeet, we are not just talking about songs. We are
talking about emotions, poetry, culture, philosophy, and beauty of rhythm all living together
in musical form. Rabindranath Tagore did not simply compose songs; he created an entire
musical world. One of the most important pillars of this world is the Taal system of Rabindra
Sangeet.
Many students find “taal system” confusing because people often explain it like a technical
music theory chapter. But actually, it is very simple if we understand it through feelings,
rhythm of speech, and natural flow of life. So, let us understand it step-by-step in a human,
relatable, and enjoyable way.
What is “Taal” in the simplest words?
Imagine you are walking. Your feet move in a particular pattern:
Left–Right, Left–Right.
That repeating pattern is like taal.
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If you clap your hands with your favorite song:
1–2–3–4 | 1–2–3–4…
That steady repeating beat is taal.
So, simply:
Taal means the rhythmic cycle or repeating beat pattern on which a song moves.
In Indian music, taal is counted in beats, called matras. Each taal has a fixed number of
beats. For example:
• 6 beats
• 8 beats
• 10 beats
• 16 beats
and so on.
Just like the heart beats regularly to keep us alive, taal keeps a song alive and disciplined.
Rabindra Sangeet and Rhythm: Not Strict, But Emotional
Indian classical music generally follows very strict rules of taal. But Rabindranath Tagore
believed that music should follow emotions more than rules. So his taal system is slightly
different.
He believed:
• Music should be close to nature
• Rhythm should feel like conversation
• Taal should support meaning of words
• Not the words forced to fit inside taal
That is why Rabindra Sangeet feels so natural, flowing, and soulful.
His rhythms are simple, human-like, and full of life. Yet they are well-structured and musical.
Sources of Rabindra Sangeet Taal System
Tagore did not invent taals from nowhere. He took inspirations from many traditions.
Indian Classical Music
• He used classical taals like Teentaal, Ektal, Jhaptaal etc.
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• But simplified them when needed to suit lyrics and emotions.
Folk Music of Bengal and India
• Baul songs
• Kirtan
• Bhatiali (boatmen songs)
• Various rural rhythms
These gave Rabindra Sangeet a strong “Bengali soul”.
Western Music Influence
• Tagore was exposed to European music.
• Some songs follow waltz-like 3-beat rhythm.
• This brought softness and lyrical smoothness.
Dance and Drama Rhythm
• His dance-dramas needed expressive rhythm.
• So he shaped taals according to movement, mood, and stage action.
So the taal system of Rabindra Sangeet is rich, blended, flexible, and emotional.
Common Taals Used in Rabindra Sangeet
Here are some of the most frequent taals students should know. Don’t just memorize —
feel their character!
Kaharwa Taal (8 beats)
Count like:
1–2–3–4 | 5–6–7–8
Very simple, very natural.
Feels like walking rhythm.
Many light, happy, joyful songs use it.
It suits children’s songs, playful songs, and folk-style songs.
Dadra Taal (6 beats)
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Count like:
1–2–3 | 4–5–6
Soft, flowing, romantic feel.
Used in emotional, gentle songs.
It is one of the most popular taals in Rabindra Sangeet.
Teentaal (16 beats)
Count like:
4 + 4 + 4 + 4
A bit more classical.
Used in serious, devotional, or philosophical songs. It gives dignity and structure.
Ektal (12 beats)
Smooth and classical.
Often used for devotional or serious songs.
Gives depth and calmness.
Jhaptaal (10 beats)
A little complex but beautiful.
Used when song needs some rhythmic variety.
Rupak Taal (7 beats)
(3 + 2 + 2 pattern)
Gives a flowing yet slightly unusual feel.
Good for expressive emotional songs.
Rhythm and Emotion: Their Beautiful Friendship
The most special thing in Rabindra Sangeet taal system is matching rhythm with emotion.
If the song expresses:
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• joy → simple bright rhythm
• devotion → steady calm rhythm
• sadness → soft, slower rhythm
• dance → lively rhythmic structure
• philosophy → dignified structured rhythm
For Tagore, words and feelings were always more important than pure rhythmical
mathematics. If necessary, he even slightly modified classical taals to suit meaning.
So, taal is not just beats.
It becomes storytelling.
Rhythm Close to Human Speech
Another beauty is that Rabindra Sangeet rhythm often feels like conversation. When we
speak, our voice has a natural rhythm. Tagore tried to keep that natural rhythm in his music.
So,
• no unnecessary complications
• no artificial force
• rhythm feels like breathing
That is why listeners— even those without music training — feel connected.
Dance, Drama, and Taal
Rabindranath Tagore also created many dance dramas like:
• Chitrangada
• Shyama
• Chandalika
Here taal had an even bigger role.
It guided:
• movement
• expression
• stage action
So rhythm in Rabindra Sangeet is also visual, meant to be felt with body as well as ears.
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Simplicity + Discipline = Beauty
Sometimes students think:
“If Tagore made rhythm flexible, does that mean it is careless?”
Absolutely not!
His taal system is disciplined, but not strict like a soldier. It is disciplined like a graceful
dancer — controlled yet expressive.
• Rhythm is clear
• Beats are structured
• But expression is free
This balance makes Rabindra Sangeet magical.
Why Understanding Taal Is Important?
Because without rhythm:
music becomes shapeless.
With proper taal understanding, we can:
• sing correctly
• maintain beauty of song
• express real emotions
• respect Tagore’s musical vision
8. Explain the impact of Tabla on human behaviour.
Ans: Introduction
Rabindra Sangeet, the musical treasure composed by Rabindranath Tagore, is not just
poetry set to tune—it is a complete musical universe. While the melodies often draw from
Hindustani ragas, Baul folk traditions, and even Western harmonies, the taal system
provides the rhythmic backbone. Tagore believed that rhythm should serve the poetry, not
dominate it. That is why he sometimes used existing taals and sometimes invented new
ones to match the lyrical flow.
Two Categories of Taals in Rabindra Sangeet
1. Rabindra-Introduced Taals (Adapted)
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Tagore borrowed many taals from Hindustani classical and folk traditions. These include:
• Dadra (6 beats): Common in light classical and folk songs, used for romantic or
playful moods.
• Kaharwa (8 beats): Simple, flowing rhythm, often used in folk-inspired songs.
• Teentāl (16 beats): Classical cycle, used in more structured compositions.
• Deepchandi (14 beats): Slow, graceful rhythm, often used in devotional songs.
• Ektāl (12 beats): Balanced and versatile, used in serious compositions.
These taals gave Rabindra Sangeet a familiar grounding, making it accessible to
audiences who already knew these rhythms.
2. Rabindrik Taals (Created by Tagore)
Tagore also invented new taals to suit the unique meters of his poetry. These are called
Rabindrik Taals. Some examples:
• Jhampak Taal (5 beats): A short, crisp cycle, perfect for lively songs.
• Ardha Jhaptaal (5 beats): Another 5-beat cycle, slightly different in structure.
• Sasthi Taal (6 beats): A variation of Dadra, tailored to Tagore’s verse.
• Nabataal (9 beats): Complex and unusual, used for songs with irregular poetic
meters.
• Ekadashi Taal (11 beats): Rare and innovative, showing Tagore’s rhythmic
imagination.
• Nabapancha Taal (18 beats): A long cycle, used for expansive, dramatic songs.
These taals are unique to Rabindra Sangeet and demonstrate Tagore’s creativity in
blending rhythm with poetry.
Why Tagore Created New Taals
• Poetic Necessity: His verses often had irregular meters that did not fit traditional
taals.
• Emotional Expression: He wanted rhythm to reflect the mood—joy, sorrow,
devotion, or playfulness.
• Innovation: Tagore believed music should evolve, not remain bound by rigid
tradition.
In simple words: Tagore bent rhythm to serve poetry, not the other way around.
Role of Taal in Rabindra Sangeet
1. Supports Poetry: The taal system ensures that the words flow naturally.
2. Shapes Mood: A light Dadra creates playfulness, while Deepchandi adds solemnity.
3. Adds Variety: By mixing classical, folk, and Rabindrik taals, Tagore kept his songs
fresh.
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4. Encourages Accessibility: Folk-inspired taals made Rabindra Sangeet easy for
common people to sing.
A Relatable Story
Imagine a village in Bengal where people gather to sing Tagore’s songs. One group sings a
romantic ghazal-like composition in Dadra, its six beats flowing gently like a river. Another
group sings a devotional hymn in Deepchandi, the 14 beats unfolding slowly, like temple
bells. Then, a group of students sings a lively song in Jhampak Taal, its five beats bouncing
playfully.
This variety shows how Tagore’s taal system allowed his music to live in every corner of
Bengal—from temples to classrooms, from folk gatherings to classical concerts.
Summary Table
Category
Examples of Taals
Beats
Mood/Usage
Rabindra-
Introduced
Dadra, Kaharwa, Teentāl,
Deepchandi, Ektāl
6, 8, 16,
14, 12
Folk, romantic,
devotional, classical
Rabindrik
(Created)
Jhampak, Ardha Jhaptaal,
Sasthi, Nabataal, Ekadashi,
Nabapancha
5, 5, 6, 9,
11, 18
Unique meters,
innovation, dramatic
expression
Final Thoughts
The Ravindra Sangeet Taal System is a perfect example of how rhythm can be both
traditional and innovative. By combining borrowed taals with his own creations, Tagore
ensured that his songs could express every shade of human emotion. His taals are not just
technical cycles—they are living rhythms that breathe life into poetry.
So, when you listen to Rabindra Sangeet, pay attention to the taal. Behind every beat lies
Tagore’s genius: a rhythm crafted to carry words, emotions, and philosophy into the hearts
of listeners.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
