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GNDU QUESTION PAPERS 2022
BA/BSc 4
th
SEMESTER
TABLA
Time Allowed: 3 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.
SECTION-A
1. Dene Peshkar and Chakkardar Paran with example.
2. Compare Lucknow and Banaras playing style.
SECTION-B
3. Write a short note on life of Pt. Pagaldas Pakhawaji.
4. Write the importance of Tabla in Gazal Gayki.
SECTION-C
5. Write three Laggis with Tihaai in notaon.
6. Write one Rela and two Tukdas in Adachartaal with notaon.
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SECTION-D
7. Dene Ravindra Sangit Taal system and write any one Taal from syllabus with notaon
in this Taal system.
8. Write your opinion on posive impact of Tabla in human behaviour.
GNDU ANSWER PAPERS 2022
BA/BSc 4
th
SEMESTER
TABLA
Time Allowed: 3 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.
SECTION-A
1. Dene Peshkar and Chakkardar Paran with example.
Ans: Understanding Peshkar – The Grand Opening
Imagine you went to watch a musical performance. Will the artist start suddenly with fast,
loud beats? Of course not! First, they introduce the rhythm slowly, clearly, gracefully—so
that everyone understands the flow.
This first introduction of rhythm, the opening presentation in Tabla or Pakhawaj playing, is
called Peshkar.
Meaning of Peshkar
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The word “Peshkar” comes from the Persian word “Peshkash”, meaning to present or to
offer respectfully.
So, Peshkar is like the artist respectfully presenting the rhythm to the audience.
Where is Peshkar used?
• Mostly in Tabla and Pakhawaj performances
• Especially in the beginning
• Usually played in Teentaal (16 beats) but can appear in other taals too
Nature of Peshkar
Peshkar is:
• Slow
• Deep
• Graceful
• Expanding
• Decorative
It starts with basic rhythmic syllables (called bols) like:
Dha – Dha Tete – Dha Dha Tete – Dha Tete Kita Dha
Slowly, the artist begins to develop it by:
1. Repeating
2. Expanding
3. Adding variations
4. Making it more complex and beautiful
In simple words, Peshkar is like a slow introduction speech in rhythm form, making the
audience comfortable with the taal and mood.
Example of a Simple Peshkar
Let us take Teentaal (16 beats). A simple Peshkar may look like:
Dha – Dha Tete | Dha Dha Tete | Dha Tete Kita Dha | Dha Tete Kita Dha
The player plays it slowly, then decorates it.
First very simple…
Then slightly fancy…
Then more decorative…
Just like a painter slowly filling a canvas.
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Why is Peshkar Important?
Because:
• It sets the tone of the performance
• It introduces the taal (rhythm cycle)
• It shows the maturity and creativity of the player
• It prepares the audience for the exciting journey ahead
Without Peshkar, the performance would feel sudden and incomplete.
Understanding Chakkardar Paran – The Powerful Climax
Now imagine the performance is going on. The rhythm becomes exciting, colourful, full of
energy. Then comes a moment when the artist performs something powerful, electrifying,
and grand.
That is when Chakkardar Paran comes.
First understand “Paran”
A Paran is a powerful rhythmic composition mainly found in:
• Pakhawaj
• Kathak dance
• Sometimes Tabla
It is made using strong, warrior-like bols:
Dha, Ta, Dhin, Na, Tita, Kata, Gadi Gena, etc.
Parans were originally played in temples and royal courts during dance and ritual
performances. They feel majestic and bold.
Now understand “Chakkardar”
The word Chakkardar means:
Something that goes in a circle (chakr) 3 times and ends perfectly on “Sam” (the first
beat).
So, Chakkardar Paran = A Paran repeated three times exactly, and every time it must land
correctly on Sam.
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This is not easy.
It requires:
• Perfect timing
• Deep rhythm knowledge
• Strong practice
Structure of Chakkardar Paran
It has:
A rhythmic phrase (Paran)
That phrase is repeated three times
After repeating, it must end exactly on Sam
This is why audiences love it…
There is suspense…
Will the artist land on Sam correctly?
When they do—it feels magical!
Example of a Chakkardar Paran
A classic style example (simplified):
Dha Ta Kita Taka | Dha Ge Na | Dha Ta Kita Taka | Dha Ge Na | Dha Ta Kita Taka | Dha Ge
Na – Sam
Here:
• The same pattern is played 3 times
• Finally, it beautifully lands on Sam
In Kathak, the dancer stamps strongly on Sam and the audience often says:
“Waah!” or “Kya baat hai!”
Because it feels powerful and satisfying.
Difference Between Peshkar and Chakkardar Paran
Feature
Peshkar
Chakkardar Paran
Meaning
Presentation / Introduction
Repeated Paran 3 times ending on Sam
Speed
Slow
Mostly fast / medium-fast
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Placement
Beginning of performance
Middle or climax
Feel
Graceful, expanding
Powerful, dramatic, thrilling
Instrument Use
Mainly Tabla & Pakhawaj
Mainly Pakhawaj, Kathak, also Tabla
Purpose
To introduce rhythm
To create excitement and climax
In simple words:
• Peshkar = Soft Opening
• Chakkardar Paran = Grand Finale-style Explosion
How Students Should Remember
Think of a movie.
At the beginning, the director slowly introduces the story → This is Peshkar
At the end, there is a thrilling climax fight scene repeated dramatically → This is Chakkardar
Paran
That’s it! If you remember this idea, you will never forget the difference.
Final Short Definitions for Exams
Peshkar:
Peshkar is the introductory composition in Tabla and Pakhawaj playing. It is played slowly
and beautifully to present the taal and rhythm mood. It gradually develops with variations
and decorations.
Example:
A slow rhythmic expansion in Teentaal like
Dha Dha Tete – Dha Dha Tete – Dha Tete Kita Dha…
2. Compare Lucknow and Banaras playing style.
Ans: Comparing Lucknow and Banaras Playing Styles
Introduction
Indian classical music is not just about ragas and taals—it is also about gharanas, or schools
of thought, each with its own philosophy and style. Among tabla gharanas, two of the most
celebrated are Lucknow and Banaras. Though both share the same instrument, their
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approaches are so distinct that listening to them feels like experiencing two different
worlds.
Think of Lucknow as a graceful dancer and Banaras as a powerful warrior—both
beautiful, but in their own ways.
Lucknow Style
Historical Background
• The Lucknow gharana developed in the courts of Nawabs, especially under Nawab
Wajid Ali Shah in the 18th–19th centuries.
• It was deeply connected to Kathak dance, which flourished in Lucknow.
Characteristics
1. Elegance and Grace:
o The strokes are delicate, refined, and ornamented.
o Emphasis on beauty rather than sheer power.
2. Dance Connection:
o Many compositions are designed to accompany Kathak.
o Theka patterns align with dance bols, making it ideal for performance in
mehfils (intimate gatherings).
3. Compositions:
o Rich in peshkar, kayda, and rela with intricate variations.
o Known for gat compositions that mirror dance syllables.
4. Mood:
o Romantic, graceful, and courtly.
o Reflects the sophistication of Lucknow’s cultural life.
In Lucknow style, tabla is not just rhythm—it is poetry in motion.
Banaras Style
Historical Background
• The Banaras gharana was founded by Pandit Ram Sahai (1780–1826).
• He trained in Lucknow but later developed his own style in Banaras, focusing on
versatility and solo performance.
Characteristics
1. Power and Robustness:
o Strokes are strong, resonant, and thunderous.
o Designed to fill large spaces and command attention.
2. Versatility:
o Can accompany vocal, instrumental, and dance equally well.
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o Developed to be effective in solo recitals, not just accompaniment.
3. Compositions:
o Famous for tukras, chakradars, and farmaishi relas.
o Heavy use of bols like “Dha” and “Dhin” for powerful resonance.
4. Mood:
o Spiritual, energetic, and dramatic.
o Reflects the sacred atmosphere of Banaras (Varanasi), the city of Shiva.
In Banaras style, tabla is not just rhythm—it is thunder and lightning, a spiritual force.
Key Differences
Aspect
Lucknow Style
Banaras Style
Origin
Nawabi courts of Lucknow
Developed by Pt. Ram Sahai in Banaras
Connection
Strongly tied to Kathak dance
Independent, versatile (solo +
accompaniment)
Mood
Graceful, romantic, courtly
Powerful, spiritual, dramatic
Strokes
Delicate, ornamented
Strong, resonant, thunderous
Compositions
Dance-oriented gats, elegant
relas
Tukras, chakradars, farmaishi relas
Performance
Mehfil (intimate gatherings)
Large audiences, solo recitals
Philosophy
Beauty and refinement
Strength and versatility
A Relatable Story
Imagine two tabla players performing in different settings.
• In Lucknow, the player sits in a mehfil, accompanying a Kathak dancer. His strokes
are delicate, matching the dancer’s graceful footwork. The audience smiles,
enchanted by the elegance.
• In Banaras, the player performs solo in a temple courtyard. His strokes are
thunderous, echoing like bells of Kashi Vishwanath. The audience feels awe, as if
touched by divine energy.
Both performances are mesmerizing, but one whispers poetry while the other roars like
a storm.
Importance of Both Styles
• Lucknow: Preserves the intimate connection between tabla and dance, showing how
rhythm can be graceful.
• Banaras: Demonstrates tabla’s power as a solo instrument, proving rhythm can
stand alone as art.
Together, they enrich the tabla tradition, offering balance between delicacy and strength.
Final Thoughts
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The Lucknow style is about elegance, refinement, and dance-inspired grace, while the
Banaras style is about power, versatility, and spiritual depth. Both are jewels of Indian
classical music, reflecting the cultural soul of their cities.
SECTION-B
3. Write a short note on life of Pt. Pagaldas Pakhawaji.
Ans: Short Note on the Life of Pt. Pagaldas Pakhawaji
When we talk about Indian classical music, we often think about singers, sitar players, or
famous vocalists. But there is another very powerful and soulful side of Indian music—the
world of rhythm and percussion. Among the many great percussionists of India, Pandit
Pagaldas Pakhawaji is remembered as a legendary figure who dedicated his entire life to
the art of Pakhawaj, one of the oldest and most respected percussion instruments of Indian
classical music.
Pakhawaj is not just a drum; it is like a heartbeat of traditional music, especially in Dhrupad
singing. It has a deep, majestic sound that fills the environment with dignity and strength.
Pandit Pagaldas was one of the great masters who preserved, enriched, and carried forward
this beautiful tradition.
Pandit Pagaldas was born into a musical environment, where rhythm and melody were not
just entertainment but a way of life. From his childhood, he was surrounded by music,
musical discussions, and practice sessions. This naturally developed in him a strong
attraction toward instruments, especially the Pakhawaj. Unlike many children who might
find classical music difficult or boring, Pagaldas Ji found joy in it. He loved listening,
observing, and slowly understanding the depth of rhythm.
As a child, he did not treat music as a hobby. Instead, he treated it like worship. He would
spend long hours watching his gurus and elders play, carefully noticing how their fingers
moved, how they struck the surface, and how each sound had its own character and
meaning. Slowly, under the guidance of expert teachers, he began learning Pakhawaj. His
training was strict, disciplined, and traditional because classical music is not learned
casually—it requires patience, respect, hard work, and dedication.
Pandit Pagaldas practiced with full sincerity. Sometimes he practiced for hours without even
noticing the time. He treated his instrument like a companion, sometimes even like a sacred
partner in his journey. This discipline built a strong foundation for his musical career. Over
time, his command over rhythm, clarity of strokes, and understanding of complex rhythmic
cycles became extraordinary. Listeners could immediately feel the power, grace, and purity
in his playing.
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As he grew older, he started performing in musical gatherings, royal courts, and cultural
festivals. Everywhere he performed, people admired his deep knowledge, strong playing
technique, and emotional connection with music. He was not just making sound; he was
telling a story through rhythm. His Pakhawaj seemed to speak. It expressed emotions like
respect, devotion, excitement, joy, and dignity.
Pandit Pagaldas also played a very important role as a guru (teacher). He believed that
music is not something to be kept limited to oneself; it should be shared, taught, and passed
on to the next generation. Many students came to him with dreams of becoming great
musicians. He trained them with patience, love, but also strict discipline. He did not just
teach them how to play; he taught them how to respect music. He encouraged them to
treat music like a sacred responsibility, not just a career.
He also helped to preserve many traditional compositions and playing techniques of the
Pakhawaj. In modern times, many traditional arts are slowly disappearing because fewer
people learn them. But Pandit Pagaldas made sure that the legacy of Pakhawaj remained
alive through his teachings and performances.
Another beautiful quality of Pandit Pagaldas was his personality. He was humble, respectful,
disciplined, and deeply spiritual. Even though he was highly respected, he never behaved
proudly. He always credited his success to his gurus and the blessings of God. His simplicity
inspired many students and music lovers. He believed that real greatness in music does not
come only from skill but from purity of heart and sincerity of devotion.
Throughout his life, he received appreciation, love, and respect from musicians, scholars,
and audiences. His contributions strengthened the position of Pakhawaj in Indian classical
music. He became a symbol of dedication, tradition, and excellence in rhythm art.
Pandit Pagaldas Pakhawaji’s life teaches us many wonderful lessons. First, it shows that true
success comes from hard work, passion, and discipline. Second, it reminds us that our
cultural heritage is precious, and we must respect and preserve it. Third, it shows the value
of humility, respect toward teachers, and devotion toward art.
Today, when we listen to the sound of Pakhawaj in classical concerts, Dhrupad
performances, temples, and cultural programs, somewhere in that rhythm lives the legacy
of great masters like Pandit Pagaldas. His life and work helped ensure that future
generations can still enjoy and learn the majestic art of Pakhawaj playing.
In simple words, Pandit Pagaldas Pakhawaji was not just a musician; he was a guardian of
tradition, a dedicated artist, a strict yet loving guru, and a shining inspiration in the world of
Indian classical music. His life is a beautiful example of how commitment, love for art, and
sincere effort can make a person immortal in history.
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4. Write the importance of Tabla in Gazal Gayki.
Ans: Introduction
The ghazal is one of the most cherished forms of semi-classical music in South Asia. Rooted
in Persian poetry and later nurtured in Urdu literature, ghazals are known for their lyrical
beauty, emotional depth, and subtle musicality. When sung, ghazals are not just about
melody—they are about rhythm, flow, and the delicate balance between words and music.
This is where the tabla comes in. The tabla, with its twin drums producing a wide range of
tones, is the heartbeat of ghazal gayki (ghazal singing). It provides rhythm, structure, and
emotional shading, transforming poetry into a living musical experience.
In simple words: The tabla in ghazal gayki is like the pulse in the human body—it keeps
the performance alive, steady, and expressive.
Role of Tabla in Ghazal Gayki
1. Maintaining Rhythm (Taal)
• Ghazals are usually set in light classical taals such as Dadra (6 beats), Kaharwa (8
beats), or sometimes Deepchandi (14 beats).
• The tabla ensures that the singer’s rendition stays anchored to the rhythmic cycle.
• Without tabla, the ghazal might lose its flow and discipline.
Example: In a Dadra taal ghazal, the tabla’s gentle “Dha Dhin Na, Dha Tin Na” keeps the
singer’s phrases aligned with rhythm.
2. Enhancing Emotional Expression
• Ghazals are about emotions—love, longing, pain, joy.
• The tabla adds subtle variations in strokes to match these moods.
• Soft strokes create intimacy, while sharper strokes add intensity.
When the singer expresses heartbreak, the tabla might play lightly, almost whispering.
When the mood shifts to passion, the tabla responds with stronger accents.
3. Creating Atmosphere
• The tabla sets the mood right from the beginning.
• A slow, measured theka creates a contemplative atmosphere.
• A lively kaharwa beat creates a playful mood.
The tabla is not just rhythm—it is atmosphere, shaping how the audience feels the
ghazal.
4. Supporting Improvisation
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• Ghazal singers often improvise, stretching lines or adding variations.
• The tabla player listens carefully and adjusts the rhythm accordingly.
• This creates a dialogue between singer and tabla, making the performance dynamic.
It feels like a conversation: the singer speaks through melody, the tabla replies through
rhythm.
5. Balancing Poetry and Music
• Ghazals are primarily poetry. The tabla ensures that the musical setting does not
overpower the words.
• By keeping rhythm gentle and supportive, the tabla allows the lyrics to shine.
• It balances the performance, ensuring poetry and music complement each other.
6. Connecting with the Audience
• Audiences often tap their feet or sway with the tabla’s rhythm.
• The tabla makes the ghazal accessible, inviting listeners to feel the beat.
• It transforms the performance from a recital into a shared experience.
Importance in Different Aspects of Ghazal Gayki
For the Singer
• Provides a rhythmic anchor.
• Offers cues for improvisation.
• Enhances emotional delivery.
For the Listener
• Creates atmosphere and mood.
• Makes poetry more engaging.
• Helps connect emotionally with the performance.
For the Tabla Player
• Opportunity to showcase subtle artistry.
• Role is supportive, not dominating.
• Requires sensitivity to poetry and melody.
A Relatable Story
Imagine a ghazal mehfil (intimate gathering). The singer begins with the line: "Dil-e-nadaan
tujhe hua kya hai" (O innocent heart, what has happened to you?).
The tabla enters softly, in Dadra taal. Its gentle strokes mirror the singer’s sighs. As the
ghazal progresses, the singer’s voice rises with passion. The tabla responds, adding sharper
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accents, intensifying the mood. The audience feels the rhythm in their hearts, swaying with
the beat.
This story shows how tabla transforms ghazal gayki from mere poetry into living music.
Comparison with Other Genres
• In khyal or dhrupad, tabla plays a more complex, dominant role.
• In ghazal gayki, tabla is lighter, more subtle, designed to support poetry.
• This difference highlights the tabla’s versatility—it adapts to the genre’s needs.
Symbolic Importance
• Tabla in ghazal gayki symbolizes balance—between poetry and music, emotion and
discipline, singer and listener.
• It reminds us that rhythm is not just technical—it is emotional, spiritual, and human.
Summary Table
Aspect
Role of Tabla in Ghazal Gayki
Rhythm
Maintains taal, anchors singer
Emotion
Matches mood with soft or strong strokes
Atmosphere
Sets contemplative or playful tone
Improvisation
Responds to singer’s variations
Balance
Supports poetry without overpowering
Audience
Creates shared rhythmic experience
Final Thoughts
The tabla in ghazal gayki is not just an instrument—it is a partner in storytelling. It listens,
responds, and enhances the singer’s emotions, ensuring that the poetry reaches the
audience with full impact. Without tabla, ghazal gayki would lose its heartbeat.
SECTION-C
5. Write three Laggis with Tihaai in notaon.
Ans: First, Understand What is a “Laggy” ()
In North Indian Classical Music (Hindustani Music), especially in Tabla and
Vocal/Instrumental compositions, Laggi is a very important rhythmic pattern.
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Think about a normal rhythm like Teen Taal (tin tin na, dhin dhin na). It goes in a smooth
and steady way. But in light classical music forms like Thumri, Dadra, Bhajan, Ghazal, Kajri,
Chaiti, Dance compositions, etc., we need something fast, lively and decorative instead of
simple rhythm.
That is where Laggy () is used.
Simple Meaning:
Laggi is a fast, playful rhythmic pattern that beautifies the taal and makes the composition
attractive.
It is usually played in:
• Dadra Taal (6 beats)
• Keherwa Taal (8 beats)
It gives a happy, dancing-type feeling and creates excitement in music.
So whenever you hear a fast rhythmic rolling pattern in light classical or dance music,
remember — that is Laggi.
Now Understand — What is “Tihai” ()?
Tihai is another beautiful and important rhythmic technique in Indian classical music.
The word Tihai itself means “something repeated three times”.
Purpose of Tihai:
It is used to finish a rhythmic cycle in a powerful and satisfying way.
Musically, it:
• Creates thrill
• Builds tension and excitement
• Ends beautifully on Sam (the first beat)
Simple Understanding:
Tihai means:
A phrase
Repeated three times
With equal gaps (or without gap sometimes)
And finally landing perfectly on SAM
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Example (just to understand):
Dha – ge na Dha – ge na Dha – ge na
This will be played thrice in rhythm, and the last syllable should meet the “SAM”.
So, Laggi gives speed and beauty…
Tihai gives finishing power and excitement…
And now the question wants Laggi + Tihai together.
Why “Laggi with Tihai” is Asked in Exams?
In classical music studies, students are expected to not just play rhythm but make it artistic,
stylish, and meaningful. Writing three Laggis with Tihais shows that:
✔ You understand rhythm
✔ You can decorate taal
✔ You know proper notation
✔ You can land correctly on SAM
So, this question tests:
• Knowledge
• Creativity
• Technical skill
Before Writing, Understand the Taal Frame
Most commonly, Laggi is asked in:
Dadra Taal (6 Matras)
Notation pattern:
1 2 3 | 4 5 6
Dha Dha na | Ti na Ta
or
Keherwa Taal (8 Matras)
Dha Ge Na Ti | Na Ka Dhi Na
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But Laggi is usually faster and decorative than this basic theka.
Now Let’s See Three Laggis with Tihai (Notation Style)
I’ll keep them simple, student-friendly, and exam-presentable.
Laggi – 1 (in Dadra Taal)
Dha Ti Na – Dha Ti Na – |
Na Ti Na – Dha Ti Na –
Tihai:
Dha Ti Na, Dha Ti Na, Dha Ti Na
This will repeat three times and land on SAM.
Laggi – 2 (Fast & Decorative)
Na Dha Na – Ti Na Dha – |
Na Ti Na Dha – Ti Na –
Tihai:
Na Dha Na | Na Dha Na | Na Dha Na
Repeated thrice and finishing on SAM.
Laggi – 3 (More Stylish & Musical)
Dha Ge Na Ti | Na Dha Na |
Ti Na Ge Na | Dha Na –
Tihai:
Dha Ge Na – Dha Ge Na – Dha Ge Na
Repeated three times and ending on SAM.
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How to Present in Exam?
While writing in exam notebooks:
Write heading
“Three Laggis with Tihai”
Write brief definitions:
• Laggi meaning (2-3 lines)
• Tihai meaning (2-3 lines)
Then write:
• Laggi 1 + Tihai
• Laggi 2 + Tihai
• Laggi 3 + Tihai
This gives a neat and complete answer.
Simple Way to Remember
Think like this:
• Laggi = Fast rhythmic decoration
• Tihai = Thrilling ending repeated three times
• Together = Beautiful rhythm + powerful ending
Just like in storytelling:
First you speak normally (taal)
Then you make it exciting (laggi)
Then you finish with a dramatic climax (tihai)
That is why music feels emotional, powerful, and alive.
Why Students Get Confused?
Because:
Words are Sanskrit-type and sound difficult
Too much technical description in books
Not explained in friendly way
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But once you understand in simple language, everything becomes easy.
Conclusion
So finally:
✔ Laggi is a fast rhythmic pattern mainly used in light classical music
✔ Tihai is a rhythmic phrase repeated three times to end beautifully on SAM
✔ The question simply wants three creative rhythmic patterns written with proper Tihai
✔ Once you understand rhythm like a story, it becomes fun!
6. Write one Rela and two Tukdas in Adachartaal with notaon.
Ans: Introduction
Indian classical music is not only about ragas (melody) but also about taals (rhythmic
cycles). Among the many taals, Ada Chautaal holds a special place in the world of tabla and
pakhawaj playing. It is a 14-beat cycle, often used in dhrupad singing and pakhawaj recitals,
and is known for its majestic, serious character.
In simple words: Ada Chautaal is like a grand rhythmic framework, and within it,
musicians create compositions such as relas and tukdas to showcase their artistry.
Understanding Ada Chautaal
• Beats (Matras): 14
• Division (Vibhag): 4 sections (4 + 4 + 3 + 3)
• Theka (basic pattern):
Code
Dha Dha Din Ta | Kita Dha Din Ta | Ti Ta Kita Dha | Din Ta Kita Dha
This theka is the backbone of Ada Chautaal. Every composition—rela, tukda, paran—fits
into this cycle.
What is a Rela?
• A rela is a fast-paced composition in tabla or pakhawaj.
• It uses repeated syllables (bols) in rapid succession, creating a flowing, energetic
effect.
• Relas are often played to demonstrate speed, clarity, and stamina.
Think of a rela as a rhythmic “river,” flowing continuously with energy.
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What is a Tukda?
• A tukda is a short, crisp composition in tabla or pakhawaj.
• It usually ends with a tihai (a phrase repeated three times to land on the sam).
• Tukdas are playful, sharp, and often used to punctuate a performance.
Think of a tukda as a rhythmic “spark”—short but brilliant.
One Rela in Ada Chautaal
Here is a simple rela with notation:
Code
Dha Dha Kita Dha | Dha Dha Kita Dha | Ti Ta Kita Dha | Din Ta Kita Dha
Dha Kita Dha Kita | Dha Kita Dha Kita | Ti Ta Kita Dha | Din Ta Kita Dha
• Notice the repetition of Dha Kita Dha Kita, which gives the rela its flowing character.
• Played at a fast tempo, it creates a continuous stream of rhythm.
This rela demonstrates how Ada Chautaal can be filled with energy while maintaining its
dignified structure.
Two Tukdas in Ada Chautaal
Tukda 1
Code
Dha Kita Dha Kita | Dha Kita Dha Kita | Ti Ta Kita Dha | Din Ta Kita Dha
Ti Ta Kita Dha | Ti Ta Kita Dha | Ti Ta Kita Dha (Tihai)
• This tukda uses repetition and ends with a tihai (Ti Ta Kita Dha repeated three
times).
• The tihai lands perfectly on the sam (first beat), giving closure.
This tukda feels sharp and precise, like a rhythmic punctuation mark.
Tukda 2
Code
Dha Din Ta Kita | Dha Din Ta Kita | Ti Ta Kita Dha | Din Ta Kita Dha
Dha Kita Dha Kita | Ti Ta Kita Dha | Din Ta Kita Dha (Tihai)
• This tukda mixes Dha Din Ta Kita with Ti Ta Kita Dha, creating variety.
• Again, it ends with a tihai, reinforcing the cycle.
This tukda feels playful, showing how different bols can be combined creatively.
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Importance of Relas and Tukdas in Ada Chautaal
1. Showcasing Skill: Relas demonstrate speed and clarity, while tukdas show precision
and creativity.
2. Maintaining Tradition: Ada Chautaal is central to dhrupad and pakhawaj; these
compositions preserve its heritage.
3. Engaging the Audience: Tukdas add sparkle, while relas add energy, keeping
listeners captivated.
4. Balancing Performance: A good recital balances long alaps with rhythmic fireworks
like relas and tukdas.
A Relatable Story
Imagine a pakhawaj player in a temple courtyard. He begins with the slow theka of Ada
Chautaal, each beat resonating like a bell. The audience listens in silence. Suddenly, he
launches into a rela—bols flowing like a river, fast and continuous. The crowd feels the
energy rising. Then, he plays a tukda—short, sharp, ending with a tihai that lands perfectly
on the sam. The audience bursts into applause, amazed at the precision.
This story shows how relas and tukdas bring life to Ada Chautaal, turning rhythm into
art.
Summary Table
Composition
Structure
Character
Example
Rela
Long, flowing, fast
Energetic,
continuous
Dha Kita Dha Kita repeated
Tukda 1
Short, ends with
tihai
Sharp, precise
Ti Ta Kita Dha (tihai)
Tukda 2
Short, varied bols
Playful, creative
Dha Din Ta Kita + Ti Ta Kita
Dha
Final Thoughts
Ada Chautaal is a majestic 14-beat cycle, and within it, compositions like relas and tukdas
showcase the artistry of tabla and pakhawaj players. The rela flows like a river, while the
tukda sparkles like a jewel. Together, they balance energy and precision, tradition and
creativity.
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SECTION-D
7. Dene Ravindra Sangit Taal system and write any one Taal from syllabus with notaon
in this Taal system.
Ans: When we study music, especially Indian classical or semi-classical forms, we often get
confused by the word “Taal.” Many students think it is something very technical or difficult,
but actually, Taal is nothing mysterious. Just like our heartbeat maintains rhythm in our
body, Taal maintains rhythm in music. Without Taal, music would be like walking without
steps—completely unorganized and unbalanced.
Now, when we say “Ravindra Sangeet Taal System,” we are talking about the unique
rhythm structure used in Rabindra Sangeet, the songs composed by Gurudev Rabindranath
Tagore. Rabindra Sangeet is not just music; it is emotion, philosophy, devotion, patriotism,
romance, spirituality, and life experience expressed through beautiful melodies. To support
these beautiful melodies, Tagore created a rhythmic style that was flexible, expressive, and
lyrical.
What is Ravindra Sangit Taal System?
Rabindranath Tagore did not strictly follow the hard rules of Hindustani classical Taal
system. Instead, he created and adapted a rhythm style that was:
✔ Simple
✔ Expressive
✔ Suitable to emotions of the song
✔ Easy to sing and accompany
In Indian classical music, Taals like Teentaal, Jhaptaal, Ektaal etc. are usually very strict.
Every beat and every division must be followed exactly. But in Rabindra Sangeet, Tagore
believed that “Expression is more important than strict rules.”
So instead of sticking completely to classical rules, he adopted a more poetic rhythmic style.
The Taals used in Rabindra Sangeet are often:
Light Classical
Folk-based
Inspired from Kirtan, Baul, and devotional rhythms
Sometimes modified versions of classical Taals
This makes Rabindra Sangeet very emotional, natural, and flowing. The Taal system helps to
enhance bhava (emotion) rather than just technical perfection.
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Structure of Ravindra Sangit Taal System
Just like classical taals, Rabindra Sangeet Taals are also divided into:
Matras (Beats) – The smallest rhythmic unit
Vibhags (Divisions of beats) – Groups of beats
Sam – The first beat (most powerful point)
Tali (Clap) – Stressed beats
Khali (Wave) – Light or unstressed beat
But there is a big difference…
In classical music, these rules are very strict. In Rabindra Sangeet, they are slightly flexible to
suit the meaning and mood of the song.
For example, if the song is emotional or devotional, rhythm may become softer and flowing.
If the song is joyful or patriotic, rhythm becomes energetic.
Why did Tagore Create this System?
Rabindranath Tagore was deeply influenced by:
Indian Classical Music
Bengali Folk Music
Kirtan
Western Music Rhythms
He felt that music should serve emotions, not just rules. So he blended different rhythmic
ideas and formed a unique rhythm style. His goal was:
• To match rhythm with poetry
• To make songs easy to sing
• To keep songs expressive
• To allow musicians and singers to feel free
That is why Rabindra Sangeet feels natural and touching when we hear it.
One Taal from Ravindra Sangit System with Notation
Let us take a very popular Taal used in Rabindra Sangeet:
Dadra Taal (6 beats)
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Dadra is one of the most commonly used Taals in Rabindra Sangeet. It is light, sweet, and
expressive. Perfect for romantic, devotional, and folk-style songs.
Structure of Dadra Taal
Total Beats = 6 Matras
It is divided into two Vibhags:
Vibhag 1: 3 beats
Vibhag 2: 3 beats
So we write:
3 + 3
Theka (Basic Pattern)
The basic rhythmic pattern played on tabla is:
Dha Dha T | Na Ti Na
Or sometimes written as:
Dha Dhi Na | Dha Tu Na
Matra-wise Counting
1 — Dha
2 — Dha
3 — Ti
4 — Na
5 — Ti
6 — Na
After 6th beat, rhythm comes back to 1st beat again.
Claps and Khali
In Dadra:
Sam (1st beat): Strong — Clap
Beat 4: Light — usually Khali (wave)
So the pattern becomes:
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Clap → 1 2 3
Wave → 4 5 6
This keeps the rhythm balanced and expressive.
How Dadra Taal Works in Rabindra Sangeet?
Many Rabindra Sangeet compositions are composed in Dadra because it naturally matches
emotional, romantic, devotional, and lyrical songs.
Songs in Dadra Taal feel:
Soft
Flowing
Emotional
Pleasant
It helps singers deliver feelings gently and beautifully. The taal does not overpower the
song; instead, it supports it.
Why Students Should Understand This?
When you understand Taal, you understand:
✔ When to start a line
✔ Where to stress words
✔ How to maintain rhythm
✔ How music and lyrics blend together
Without Taal knowledge, a singer may sing words correctly but lose rhythm. With Taal
knowledge, singing becomes confident, graceful, and disciplined.
Conclusion
The Ravindra Sangit Taal System is a beautiful rhythmic structure designed by Rabindranath
Tagore to support the emotional, lyrical, and poetic nature of his songs. Unlike rigid classical
Taals, Rabindra Sangeet Taals are more flexible, expressive, and natural. They are influenced
by classical music, folk rhythms, devotional music, and sometimes even western rhythmic
ideas.
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Among the various Taals used in Rabindra Sangeet, Dadra Taal is one of the most popular. It
contains 6 beats divided into 3 + 3 structure, with the Theka Dha Dha Ti | Na Ti Na. This Taal
provides smoothness, sweetness, and emotional depth to the songs.
So, understanding the Ravindra Sangeet Taal system not only helps in exam writing but also
deepens our appreciation of Rabindranath Tagore’s musical genius. It shows how rhythm
and emotion walk together hand in hand to create soulful music that touches our hearts
even today.
8. Write your opinion on posive impact of Tabla in human behaviour.
Ans: The Positive Impact of Tabla on Human Behaviour
Introduction
Music has always been a mirror of human emotions, and rhythm is its heartbeat. Among
Indian instruments, the tabla stands out as both a technical marvel and a spiritual
companion. With its twin drums producing countless tones, the tabla is more than just a
musical instrument—it is a tool that shapes the mind, body, and soul.
In simple words: The tabla doesn’t just create rhythm; it creates harmony within us.
Stress Relief and Mindfulness
• Playing tabla is deeply meditative. The repetition of bols (syllables) and cycles of taal
calm the nervous system.
• Research shows that rhythmic practice helps reduce anxiety and stress.
• The act of focusing on beats creates mindfulness, similar to meditation.
Imagine ending a stressful day by playing a simple Dadra taal—the steady rhythm feels
like breathing, grounding you in the present moment.
Cognitive Benefits
• Tabla playing engages both hemispheres of the brain.
• Each hand performs different movements, enhancing coordination and fine motor
skills.
• Learning bols as a language improves memory and cognitive function.
• Improvisation in tabla is like solving puzzles—it sharpens creativity and problem-
solving skills.
Tabla is not just music—it’s a workout for the brain.
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Emotional Balance
• Rhythms influence emotions. Soft strokes soothe, while energetic relas uplift.
• Tabla players often report emotional stability and resilience.
• The discipline of practice fosters patience and self-control.
The tabla teaches us to channel emotions constructively—anger becomes energy,
sadness becomes depth, joy becomes celebration.
Physical Health
• Playing tabla is a full-body exercise. It strengthens fingers, wrists, and arms.
• The posture required improves spinal alignment and breathing.
• Rhythmic practice enhances stamina and endurance.
Tabla is both art and exercise—it keeps the body active while the mind stays engaged.
Social and Cultural Impact
• Tabla connects people in performances, building community and collaboration.
• It teaches listening and responding—skills essential in human relationships.
• In ghazals, bhajans, or kathak, tabla creates shared experiences of joy and devotion.
Tabla is not just personal—it is social harmony in action.
Symbolic Lessons for Behaviour
1. Discipline: Regular practice instills consistency.
2. Patience: Mastery takes time, teaching endurance.
3. Creativity: Improvisation encourages innovation.
4. Balance: Using both hands equally fosters symmetry in thought and action.
5. Mindfulness: Staying in rhythm mirrors staying present in life.
A Relatable Story
Picture a young student learning tabla. At first, the bols feel confusing—Dha, Dhin, Na, Tin.
Slowly, with practice, the rhythms begin to flow. The student notices something surprising:
not only is he improving in music, but he is also calmer in school, more focused in studies,
and more patient with friends. His parents see the change—less stress, more joy.
This story shows how tabla transforms behaviour beyond the stage—it shapes everyday
life.
Risks and Challenges
• Without proper guidance, over-practice may strain fingers or wrists.
• Beginners may feel frustrated with complex taals.
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• To avoid these, balance practice with rest and patience.
Summary Table
Impact Area
Positive Effect of Tabla
Stress
Reduces anxiety, promotes mindfulness
Cognition
Improves memory, focus, creativity
Emotion
Builds resilience, balances mood
Physical
Strengthens muscles, improves posture
Social
Encourages collaboration, harmony
Behaviour
Teaches discipline, patience, balance
Final Thoughts
The tabla is more than rhythm—it is a philosophy of life. By engaging mind, body, and soul,
it nurtures positive behaviour: calmness, focus, creativity, and joy. Whether played
professionally or casually, tabla transforms human experience, reminding us that rhythm is
not only in music but also in the way we live.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
