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GNDU QUESTION PAPERS 2024
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. Write one Chakardaar tukda in Adachartaal with the denion of Chakardaar.
2. Describe in detail playing style of Banaras Gharana.
SECTION-B
3. Write the life sketch of Pt. Pagal Das Ji and menon his musical achievements.
4. Write down notaon of two Laggi and one Tihai in Deepchandi Taal.
SECTION-C
5. Describe the role of tabla accompaniment in Ghazal singing.
6. Write notaon of one kayada, four palta, hai and one tukara in Ada Chartaal.
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SECTION-D
7. How Table Training can be helpful in promong human values?
8. Write the notaon of Deepchandi taal in Dugun and Tigun.
GNDU ANSWER PAPERS 2024
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. Write one Chakardaar tukda in Adachartaal with the denion of Chakardaar.
Ans: Chakardaar Tukda in Ada Chautaal (with Definition)
Indian classical percussion, especially Tabla, is not just about playing rhythms—it is about
telling a rhythmic story. One such beautiful rhythmic form is the Chakardaar Tukda, which
combines mathematical precision with artistic expression. Let us understand this concept
step by step in a simple, engaging, and student-friendly way, so that even a beginner can
clearly grasp it.
1. What is a Tukda? (Basic Idea)
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A Tukda is a short, fixed composition in Tabla made up of bols (syllables like Dha, Tin, Na,
Ge, etc.).
It is usually performed at the end of a performance section, just before a theka or tihaai, to
show clarity, control, and command over rhythm.
Think of a tukda like a short rhythmic sentence—not too long, not too short—but complete
in itself.
2. What is Chakardaar? (Definition)
Definition of Chakardaar
A Chakardaar is a special type of tukda that is repeated three times continuously, without
any break, and the final stroke of the third repetition ends exactly on the Sam (the first and
most important beat of the taal).
In simple words:
A Chakardaar Tukda = Same tukda × 3 times → ends perfectly on Sam
Why is it called “Chakardaar”?
The word Chakar means circle.
The repetition of the same tukda three times creates a circular rhythmic effect, returning
again and again to the starting point (Sam).
3. Understanding Ada Chautaal
Before writing the Chakardaar Tukda, we must clearly understand the taal.
Ada Chautaal – At a Glance
• Total Matras (beats): 14
• Vibhag (divisions): 2 + 4 + 4 + 4
• Taali–Khali structure:
o 1st Vibhag (2 matras): Taali
o 2nd Vibhag (4 matras): Khali
o 3rd Vibhag (4 matras): Taali
o 4th Vibhag (4 matras): Taali
Theka of Ada Chautaal
| Dha Dhin | Dha Tin Tin Ta | Ta Dhin Dhin Dha | Dha Tin Tin Ta |
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This taal is often used in Dhrupad style and requires strong control and balance.
4. Structure of a Chakardaar Tukda
A Chakardaar Tukda has three important elements:
1. Basic Tukda (Phrase)
2. Three-fold repetition (×3)
3. Perfect Sam landing at the end
Mathematical Understanding
• Since Ada Chautaal has 14 matras,
• The total length of the Chakardaar Tukda must fit perfectly so that after three
repetitions, the last bol falls exactly on Sam.
This is why Chakardaar compositions are considered a test of rhythmic intelligence.
5. One Chakardaar Tukda in Ada Chautaal
Now let us write one simple and exam-friendly Chakardaar Tukda suitable for BA/BSc level
students.
Basic Tukda (One Time)
Dha Ge Na | Ti Na Ke | Ta Ke Dhi Na
(Each bol is played evenly, maintaining clear lay)
Chakardaar Form (Played Three Times)
Dha Ge Na Ti Na Ke Ta Ke Dhi Na |
Dha Ge Na Ti Na Ke Ta Ke Dhi Na |
Dha Ge Na Ti Na Ke Ta Ke Dhi Na ||
✔ The third repetition ends on Sam
✔ The composition fits smoothly within the 14-matra cycle
✔ Simple bols make it easy to remember and write in exams
6. Why Chakardaar Tukda is Important
Musical Importance
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• Shows command over rhythm
• Demonstrates lay control and calculation
• Adds dramatic impact to performance
Academic Importance
• Frequently asked in university exams
• Tests understanding of:
o Taal structure
o Sam placement
o Mathematical precision
Performance Value
• Creates excitement for listeners
• Gives a strong concluding effect
• Highlights the performer’s confidence
7. Tips for Writing Chakardaar in Exams
• Always define Chakardaar first
• Mention the taal and matras clearly
• Write bols neatly and in sequence
• Show three repetitions clearly
• Ensure the final bol lands on Sam
Even if the tukda is simple, clarity matters more than complexity.
Conclusion
A Chakardaar Tukda in Ada Chautaal beautifully combines rhythm, repetition, and
mathematical accuracy. By repeating a well-structured tukda three times and ending
precisely on Sam, the Tabla player demonstrates both technical skill and artistic maturity.
Ada Chautaal, with its 14 matras, adds an extra layer of challenge, making Chakardaar
compositions even more impressive. For students, understanding this concept not only
helps in exams but also builds a strong foundation in Indian classical rhythm. Mastery of
Chakardaar is truly a step toward rhythmic excellence.
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2. Describe in detail playing style of Banaras Gharana.
Ans: Introduction
When we talk about Indian classical music, we often focus on ragas and melodies. But
rhythm—the heartbeat of music—has its own traditions called gharanas. Each gharana has
a distinct style of playing the tabla, shaped by history, geography, and philosophy. Among
them, the Banaras Gharana (also called Benares Gharana) stands out for its majestic,
versatile, and powerful playing style.
Founded in the holy city of Varanasi (Banaras) by Pandit Ram Sahai (1780–1826), this
gharana is about 200 years old. Ram Sahai, after training in Lucknow, withdrew into
seclusion for six months to develop a style that could serve both as a solo performance art
and as accompaniment for vocal and dance.
Core Philosophy of Banaras Gharana
The Banaras style was designed to be:
• Versatile: Equally effective in solo recitals and accompaniment.
• Clear: Every bol (syllable) must be distinct and audible.
• Dynamic: Balancing dignity with energy, suitable for khayal singing, instrumental
music, and Kathak dance.
Imagine a tabla player in Banaras: his strokes are crisp, his rhythm flows like the Ganga,
and his energy fills the room without ever losing control.
Playing Style
1. Clarity of Bols
• Each sound on the tabla has a corresponding syllable (bol).
• In Banaras Gharana, these bols are played with utmost clarity, almost like speaking a
language.
• This makes the style easy to follow even for listeners unfamiliar with technicalities.
2. Use of Resonance
• The bayan (left drum) is used to create deep, resonant sounds.
• This gives the Banaras style a majestic, booming quality, often compared to temple
bells.
3. Balance of Power and Grace
• The strokes are powerful but never harsh.
• The style combines strength with elegance, making it ideal for Kathak dance
accompaniment.
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4. Rich Repertoire
The Banaras Gharana is famous for its variety of compositions:
• Parans: Rhythmic pieces often borrowed from pakhawaj tradition.
• Chakradars: Complex cycles repeated three times, ending on the sam (first beat).
• Relas: Fast, flowing compositions that display virtuosity.
• Moharas and Tihais: Ending phrases that bring compositions to a grand close.
5. Layakari (Tempo Variations)
• Banaras players excel in shifting between Ekgun (single speed), Dugun (double
speed), and even faster layakaris.
• This creates excitement and showcases mastery over rhythm.
Famous Exponents
The Banaras Gharana has produced legendary tabla players:
• Pandit Ram Sahai – Founder, who shaped the style.
• Pandit Samta Prasad – Known as “Benares ka Baj,” celebrated for his powerful
playing.
• Pandit Kishan Maharaj – Famous for his dazzling solos and Kathak accompaniment.
• Pandit Anokhe Lal Mishra – Revered for his clarity and speed.
Each of these maestros carried forward the tradition, adding their own brilliance while
preserving the gharana’s essence.
Distinctive Features Compared to Other Gharanas
Feature
Banaras Gharana
Lucknow Gharana
Delhi Gharana
Tone
Powerful, resonant
Graceful, delicate
Balanced, precise
Focus
Solo + dance
accompaniment
Kathak
accompaniment
Vocal
accompaniment
Compositions
Rich in parans, chakradars
Elegant relas
Clear bols, tihais
Philosophy
Versatility and grandeur
Grace and beauty
Discipline and clarity
This comparison shows how Banaras Gharana carved its own niche by blending power
with versatility.
Wrapping It All Together
The Banaras Gharana playing style is like the city of Varanasi itself—ancient, powerful,
spiritual, and full of life. Founded by Pandit Ram Sahai, it emphasizes clarity of bols,
resonance, versatility, and a rich repertoire. Whether in a solo recital or accompanying
Kathak dance, the Banaras style shines with dignity and energy.
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Final Thought
Think of Banaras Gharana as a river: steady yet dynamic, deep yet clear. Its playing style
reminds us that rhythm is not just mathematics—it is expression, devotion, and life itself.
SECTION-B
3. Write the life sketch of Pt. Pagal Das Ji and menon his musical achievements.
Ans: Life Sketch and Musical Achievements of Pt. Pagal Das Ji
Indian classical music is not just a form of entertainment; it is a living tradition shaped by
devoted artists who dedicate their entire lives to it. One such respected and deeply
influential personality was Pt. Pagal Das Ji, a legendary pakhawaj player whose contribution
to Indian classical music—especially Dhrupad music—is remembered with great reverence.
His life story is inspiring, and his musical achievements continue to guide students and
performers even today.
Early Life and Background
Pt. Pagal Das Ji was born into an environment deeply connected with Indian classical music.
From a very young age, he showed a natural inclination towards rhythm and percussion. In
traditional Indian society, musical training often begins early, and the same was true for
Pagal Das Ji. He grew up listening to devotional music, Dhrupad compositions, and powerful
pakhawaj rhythms, which shaped his musical sensibility.
His early training followed the Guru–Shishya Parampara, the age-old Indian system of
learning where the student lives with the guru and learns through discipline, observation,
and lifelong dedication. Under the strict guidance of his gurus, Pagal Das Ji developed strong
fundamentals in layakari (rhythmic complexity), bol patterns, and taal structure. This
rigorous training helped him master not only technique but also the spiritual depth of Indian
music.
Musical Training and Artistic Growth
The pakhawaj is a demanding instrument. It requires immense physical strength, precision,
and a deep understanding of rhythm. Pt. Pagal Das Ji practiced tirelessly for hours every day.
His dedication was such that music was not merely a profession for him—it became his way
of life.
Over time, his playing style matured and developed a unique identity. He was known for:
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• Clarity of bols
• Perfect control over tempo
• Powerful yet balanced sound
• Deep emotional expression
He particularly excelled in accompanying Dhrupad singers, where the pakhawaj plays a
crucial role in enhancing the gravity and spiritual depth of the composition.
Association with Dhrupad Tradition
Pt. Pagal Das Ji made his most significant contribution to the Dhrupad style of Indian
classical music, one of the oldest and most serious forms of Hindustani music. Dhrupad
demands discipline, purity, and devotion—qualities that perfectly matched his
temperament.
His pakhawaj accompaniment was never overpowering. Instead, it complemented the
vocalist beautifully. He understood when to be forceful and when to remain subtle, showing
his deep musical maturity. Because of this sensitivity, many renowned Dhrupad singers
preferred performing with him.
Musical Achievements
The musical achievements of Pt. Pagal Das Ji are numerous and deeply impactful:
1. Mastery of Pakhawaj
He was considered one of the finest pakhawaj players of his time. His command over
complex talas such as Chautal, Dhamar, Jhaptal, and Teental was exceptional.
2. Preservation of Traditional Styles
At a time when modern instruments and fusion styles were gaining popularity, Pt. Pagal Das
Ji remained committed to preserving the purity of traditional pakhawaj playing. He played a
key role in keeping the authentic Dhrupad–Pakhawaj tradition alive.
3. Contribution as a Guru
Apart from being a performer, he was also a great teacher. He trained many students who
later became respected musicians themselves. Through teaching, he ensured that
traditional knowledge was passed on to future generations.
4. Performances Across India
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He performed at prestigious music conferences, festivals, temples, and cultural gatherings
across India. His performances were admired by scholars, musicians, and common listeners
alike.
5. Spiritual Depth in Music
One of his greatest achievements was bringing spiritual intensity into rhythmic
performance. His playing often felt meditative and devotional, reminding listeners that
Indian classical music is closely connected with inner discipline and spirituality.
Personality and Way of Life
Pt. Pagal Das Ji was known for his simplicity and humility. Despite his fame, he lived a
disciplined and modest life. He believed that music is a form of worship, and this belief
reflected clearly in his personality. His nickname “Pagal” (meaning “mad”) symbolized his
complete devotion to music—he was “mad” only for rhythm and sound.
Legacy and Importance
The legacy of Pt. Pagal Das Ji is immense. He is remembered not just as a musician, but as a
guardian of tradition. His life teaches us that true excellence comes from dedication,
discipline, and respect for cultural roots.
Even today, students of Indian classical percussion study his style to understand:
• Traditional pakhawaj techniques
• Dhrupad accompaniment principles
• Rhythmic purity and balance
Conclusion
In conclusion, Pt. Pagal Das Ji was a towering figure in Indian classical music whose life was
devoted to rhythm, tradition, and spiritual expression. His mastery over the pakhawaj, deep
association with Dhrupad music, dedication as a guru, and commitment to preserving
classical values make him an unforgettable personality. His musical achievements continue
to inspire students and musicians, proving that true art is timeless and deeply rooted in
devotion and discipline.
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4. Write down notaon of two Laggi and one Tihai in Deepchandi Taal.
Ans: Introduction to Deepchandi Taal
In Hindustani classical music, rhythm (tala) is the heartbeat. One of the most graceful talas
is Deepchandi, also called Chanchal Taal.
• Structure: Deepchandi has 14 beats (matras).
• Division (Vibhag): It is divided into 4 sections: 3 + 4 + 3 + 4.
• Theka (basic pattern):
Dha Dhin | Dhin Dha Dha | Tin Tin | Ta Ta Dhin Dhin Dha Dha
Imagine this as a cycle of 14 pulses. Each time the tabla player completes the cycle, they
return to the first beat (sam), which is like “home.”
Deepchandi is widely used in light classical forms like thumri, dadra, and bhajan. Its gentle
flow makes it perfect for expressive singing.
What is Laggi?
A Laggi is a playful rhythmic variation used in light classical music. It is like a fast, decorative
pattern played on the tabla to add sparkle and energy.
• Laggi is often used in thumri, kajri, chaiti, and bhajan.
• It creates excitement and keeps the audience engaged.
• Think of laggi as the tabla’s way of “dancing” along with the singer.
What is Tihai?
A Tihai is a rhythmic phrase repeated three times, ending exactly on the sam (first beat of
the cycle).
• It is used to conclude a composition or create emphasis.
• Tihai is like a rhythmic punctuation mark—it tells the listener, “Here comes the end
of the cycle.”
Example: If you have a phrase like “Dha Dha Tin,” you play it three times in succession,
and it lands perfectly on the sam.
Notation of Two Laggi and One Tihai in Deepchandi
Now let’s write down the notations. Remember, each cycle has 14 beats.
Laggi 1 (Playful Variation)
Dha - Tin - Na | Dhin Na - Tin Na | Dha - Tin - Na | Dhin Na - Tin Na
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• This laggi uses alternating bols (syllables) to create a lively rhythm.
• Notice how “Tin Na” repeats—it gives a dancing feel.
• Perfect for thumri or bhajan accompaniment.
Laggi 2 (Fast Decorative Pattern)
Dha Ge Na - Tin Na | Dhin Na - Tin Na | Dha Ge Na - Tin Na | Dhin Na - Tin Na
• Here, “Ge Na” adds depth with the bayan (left drum).
• The repetition of “Tin Na” creates speed and sparkle.
• This laggi feels more energetic, like tabla showing off its agility.
Tihai in Deepchandi
Let’s create a tihai that fits neatly into the 14-beat cycle.
Phrase: Dha Dhin Na Tin Na
Play it three times so that the last “Na” falls on the sam.
Dha Dhin Na Tin Na | Dha Dhin Na Tin Na | Dha Dhin Na Tin Na (Sam)
• The tihai builds anticipation as it repeats.
• When it finally lands on the sam, it feels satisfying—like a perfect ending.
Why This Matters
• Deepchandi Taal is graceful and widely used in semi-classical music.
• Laggi adds sparkle, making the rhythm playful and engaging.
• Tihai adds structure, giving the performance a sense of closure.
Together, they show how tabla is not just an instrument—it is a storyteller. The bols
(syllables) are like words, and laggi and tihai are like poetry within rhythm.
Wrapping It All Together
So, in Deepchandi Taal (14 beats):
• Laggi 1: Dha - Tin - Na | Dhin Na - Tin Na …
• Laggi 2: Dha Ge Na - Tin Na | Dhin Na - Tin Na …
• Tihai: Dha Dhin Na Tin Na (repeated thrice, ending on sam).
These patterns show the beauty of tabla—how rhythm can be both structured and playful.
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SECTION-C
5. Describe the role of tabla accompaniment in Ghazal singing.
Ans: Role of Tabla Accompaniment in Ghazal Singing
Ghazal singing is one of the most refined and emotionally rich forms of Indian light classical
music. It is not just about singing poetry; it is about feeling the poetry and conveying its
emotions—love, longing, pain, separation, hope, and spirituality. In this delicate musical
form, the tabla plays a very special and supportive role. Unlike fast classical performances
where rhythm dominates, in ghazal singing the tabla works quietly in the background,
helping the singer express emotions without overpowering the words.
To understand the role of tabla in ghazal singing, we must first understand the nature of a
ghazal. A ghazal is primarily poetry-based. The audience listens carefully to every word,
every pause, and every subtle change in expression. Therefore, the tabla accompanist must
be extremely sensitive and musically mature.
1. Providing a Soft Rhythmic Foundation
The first and most important role of tabla in ghazal singing is to provide a gentle rhythmic
base. The tabla keeps the taal (rhythmic cycle) steady, but it does so in a soft and controlled
manner. Unlike classical khayal or instrumental music where complex and fast patterns are
common, ghazal requires slow or medium tempo rhythms.
Common taals used in ghazals include:
• Dadra (6 beats)
• Keharwa (8 beats)
• Deepchandi (14 beats)
These taals are played with simplicity and grace. The tabla helps the singer stay rhythmically
balanced without distracting the listener from the poetry.
2. Supporting the Mood and Emotion of the Ghazal
A ghazal is deeply emotional, and the tabla must reflect the mood of the composition. If the
ghazal expresses sorrow or longing, the tabla strokes are played softly, often using muted
sounds. For romantic or hopeful ghazals, the rhythm may feel slightly more lively but still
controlled.
The tabla accompanist carefully adjusts:
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• Volume
• Speed
• Stroke selection
This emotional sensitivity makes the tabla an emotional partner rather than just a rhythm
instrument.
3. Maintaining Balance Between Music and Poetry
In ghazal singing, words are more important than rhythm. The tabla player must ensure
that the rhythmic patterns never overshadow the lyrics. This is why heavy improvisation or
loud playing is avoided.
The tabla acts like a respectful listener who speaks only when needed. It fills the silence
gently but allows the singer full freedom to express the poetry clearly.
4. Enhancing Musical Flow Without Interrupting Expression
Ghazal singers often pause between lines to emphasize meaning. During these pauses, the
tabla accompanist plays minimal strokes or sometimes remains silent. This controlled
approach helps maintain musical flow without disturbing the emotional impact of the lyrics.
The tabla also smoothly connects one verse (sher) to another, giving continuity to the
performance.
5. Adjusting to Improvisation and Freedom of the Singer
Ghazal singing allows a great deal of freedom. The singer may stretch a line, slow down the
tempo, or repeat a phrase for emotional emphasis. The tabla player must instantly adjust to
these changes.
This requires:
• Deep understanding of ghazal style
• Strong listening skills
• Mutual coordination with the singer
A good tabla accompanist follows the singer closely, almost like a shadow.
6. Creating a Graceful and Intimate Atmosphere
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Ghazals are often performed in small, intimate gatherings known as mehfil. In such settings,
loud or aggressive tabla playing would break the mood. The tabla helps create a calm and
graceful atmosphere that invites the listener into the emotional world of the ghazal.
The softness of the tabla enhances the intimacy and closeness between the performer and
the audience.
7. Complementing Other Accompanying Instruments
In ghazal singing, tabla usually works along with harmonium, sarangi, or keyboard. The tabla
carefully synchronizes with these melodic instruments, ensuring overall harmony.
It:
• Matches the tempo set by harmonium
• Supports melodic phrases
• Avoids rhythmic clashes
This teamwork creates a smooth and pleasing musical texture.
8. Showing Restraint and Musical Discipline
One of the greatest qualities of tabla accompaniment in ghazal singing is restraint. The
accompanist resists the temptation to show technical skill and instead focuses on serving
the song.
This discipline reflects true musical maturity and respect for the ghazal tradition.
Conclusion
The role of tabla accompaniment in ghazal singing is subtle yet extremely important. The
tabla does not dominate; it supports. It does not distract; it enhances. By providing gentle
rhythm, supporting emotional expression, maintaining balance, and adapting to the singer’s
freedom, the tabla becomes an essential companion in ghazal performance.
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6. Write notaon of one kayada, four palta, hai and one tukara in Ada Chartaal.
Ans: Introduction
The ghazal is one of the most beloved forms of light classical music in South Asia. Rooted in
Persian poetry and refined in Urdu literature, ghazals are known for their lyrical beauty,
emotional depth, and themes of love, longing, and philosophy.
But while the words and melody carry the poetry, the tabla plays a crucial role in shaping
the performance. It is not just an instrument keeping time—it is a storyteller in rhythm, a
partner to the singer, and a bridge between poetry and music.
The Tabla as a Companion
In ghazal singing, the tabla is like a gentle companion walking alongside the singer. Unlike in
khayal or dhrupad, where tabla can be highly complex and dominant, in ghazals the tabla
plays with restraint and sensitivity.
• It provides a steady rhythmic base so the singer can focus on expression.
• It listens and responds to the singer’s mood, adjusting its intensity.
• It highlights the cadence of poetry, making each couplet feel alive.
Imagine a ghazal singer reciting a verse of longing. The tabla softly plays in Dadra taal (6
beats), almost like a heartbeat, giving the words a gentle pulse.
Choice of Taal
The tabla player usually chooses light talas that suit the lyrical nature of ghazals:
• Dadra (6 beats) – the most common, simple, and flowing.
• Kaharwa (8 beats) – often used for lively or romantic ghazals.
• Sometimes Deepchandi (14 beats) or Ektal (12 beats) for more classical flavor.
These talas are not heavy or complicated—they are chosen to support the poetry, not
overshadow it.
Role in Expression
The tabla does more than keep rhythm. It adds emotional color to the performance:
1. Soft strokes for tenderness – When the ghazal expresses love or longing, the tabla
plays gently, almost whispering.
2. Strong strokes for intensity – When the poetry turns passionate or dramatic, the
tabla adds weight, emphasizing the emotion.
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3. Pauses and silence – Sometimes the tabla deliberately pauses, letting the singer’s
words hang in the air. This silence is as powerful as sound.
Example: In Mehdi Hassan’s ghazals, the tabla often plays softly in the background,
rising only when the singer’s voice swells with emotion. This creates a dialogue between
voice and rhythm.
Supporting Improvisation
Ghazal singers often improvise—stretching a line, repeating a phrase, or adding melodic
variations. The tabla must be flexible and responsive:
• It adjusts tempo to match the singer’s flow.
• It fills gaps with subtle rhythmic patterns.
• It ensures that no matter how the singer improvises, the performance always returns
smoothly to the sam (first beat).
This requires great skill, because the tabla player must constantly listen and adapt, rather
than just play mechanically.
Creating Atmosphere
The tabla also helps set the mood of the performance:
• In romantic ghazals, it plays lightly, almost like a lover’s heartbeat.
• In philosophical ghazals, it plays with dignity, giving weight to the words.
• In lively ghazals, it adds sparkle, encouraging the audience to sway along.
Think of the tabla as the painter’s brush, adding shades of rhythm to the canvas of
poetry.
Balance Between Poetry and Rhythm
The most important role of tabla in ghazal singing is balance.
• The poetry is the soul of the ghazal.
• The melody is its body.
• The tabla is the heartbeat that keeps both alive.
If the tabla plays too loudly, it distracts from the words. If it plays too softly, the
performance loses energy. The art lies in finding the perfect balance.
Wrapping It All Together
The role of tabla accompaniment in ghazal singing can be summed up as:
• Providing a steady rhythmic base.
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• Enhancing emotional expression.
• Supporting improvisation.
• Creating the atmosphere of the performance.
• Maintaining balance between poetry and music.
It is not about showing off technical brilliance—it is about serving the poetry. The tabla
listens, responds, and breathes with the singer, making the ghazal a complete experience.
Final Thought
Think of ghazal singing as a conversation between the heart and the soul. The singer speaks
through poetry, the melody carries the emotion, and the tabla provides the heartbeat.
Without the tabla, the ghazal would feel incomplete—like a poem without rhythm. With it,
the words come alive, dancing gently on the pulse of music.
SECTION-D
7. How Table Training can be helpful in promong human values?
Ans: How Table Training Helps in Promoting Human Values
In today’s fast-moving world, education is no longer limited to textbooks, exams, and marks.
True education is about shaping human beings—developing not only the mind but also the
heart and character. This is where Table Training plays a very important role. Though the
term may sound simple, its impact on students’ personality and values is deep and long-
lasting.
Table training refers to a learning method where students sit together around a table and
participate in structured activities such as discussions, group tasks, role-plays, problem-
solving exercises, and reflective conversations. Unlike one-way classroom teaching, table
training creates a shared space where everyone learns with and from each other. This
environment naturally promotes many essential human values.
Let us understand this step by step in a simple and engaging way.
1. Encourages Respect for Others
One of the most important human values is respect—respect for different opinions,
backgrounds, and personalities. During table training, students sit face-to-face and express
their thoughts openly. Everyone gets a chance to speak.
While listening to others:
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• Students learn not to interrupt.
• They understand that different people think differently.
• They accept disagreement without anger or ego.
Over time, this practice builds the habit of respecting others’ viewpoints, even when they do
not agree with them. This respect is not forced; it grows naturally through interaction.
2. Develops Cooperation and Team Spirit
Table training activities are usually group-based. Tasks cannot be completed alone; students
must work together. This teaches the value of cooperation.
Through such activities, students learn:
• How to share responsibilities
• How to help weaker members
• How to celebrate group success rather than individual credit
This strengthens the feeling of “we” instead of “I”, which is a core human value needed in
families, workplaces, and society.
3. Builds Empathy and Sensitivity
Empathy means understanding how others feel. When students share personal experiences
or discuss real-life situations during table training, they begin to see life from others’
perspectives.
For example:
• A student talking about financial struggles
• Someone sharing exam stress or family pressure
• A discussion on social issues like poverty or discrimination
Listening to such experiences makes students more sensitive, kind, and compassionate.
They realize that everyone is fighting their own battles. This emotional awareness is a strong
foundation for human values.
4. Promotes Honesty and Openness
Table training creates a safe and friendly atmosphere. Students are encouraged to speak
honestly without fear of judgment. When teachers or trainers guide discussions positively,
students feel confident to express their true thoughts.
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This promotes:
• Truthfulness in communication
• Confidence to admit mistakes
• Openness to learning and self-improvement
Honesty developed in such small group settings slowly becomes part of the student’s
character.
5. Improves Communication and Listening Skills
Good communication is not only about speaking well; it is also about listening patiently.
Table training balances both.
Students learn:
• To speak clearly and politely
• To listen attentively
• To respond thoughtfully instead of reacting emotionally
These skills help in building healthy relationships and resolving conflicts peacefully—an
essential human value in society.
6. Teaches Responsibility and Discipline
In table training, every student is given a role—leader, note-taker, presenter, or observer.
Each role comes with responsibility.
This helps students learn:
• Time management
• Accountability for their tasks
• Discipline in group behavior
When students realize that their actions affect the entire group, they become more
responsible and mature.
7. Encourages Moral Thinking and Decision-Making
Many table training sessions include discussions on ethical situations—what is right, what is
wrong, and why. Such discussions sharpen students’ moral thinking.
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Instead of memorizing moral lessons, students:
• Analyze real-life situations
• Debate ethical choices
• Understand consequences of actions
This strengthens their inner moral compass and helps them take value-based decisions in
real life.
8. Builds Confidence with Humility
Speaking in a small group builds confidence slowly and naturally. At the same time, listening
to others’ strengths keeps ego under control.
Students learn:
• To express without dominating
• To accept feedback positively
• To grow without arrogance
This balance of confidence and humility is a powerful human value.
Conclusion
Table training is much more than a classroom technique—it is a life-shaping experience. By
bringing students together around a table, it creates a space where respect, cooperation,
empathy, honesty, responsibility, and moral awareness grow naturally.
In a world where competition often overshadows compassion, table training quietly teaches
students how to be good human beings first, and successful professionals later. Its true
success lies not in grades or certificates, but in the values students carry with them
throughout their lives.
8. Write the notaon of Deepchandi taal in Dugun and Tigun.
Ans: Introduction to Deepchandi Taal
In Hindustani classical music, rhythm (tala) is the heartbeat. One of the most graceful and
widely used talas in semi-classical music is Deepchandi Taal.
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• Structure: Deepchandi has 14 beats (matras).
• Division (Vibhag): It is divided into 4 sections (vibhags): 3 + 4 + 3 + 4.
• Theka (basic pattern):
Dha Dhin | Dhin Dha Dha | Tin Tin | Ta Ta Dhin Dhin Dha Dha
Imagine this as a cycle of 14 pulses. Each time the tabla player completes the cycle, they
return to the first beat (sam), which is like “home.”
Deepchandi is often used in thumri, bhajan, kajri, and other light classical forms, because
its flow is gentle and expressive.
What is Layakari?
Layakari means playing with tempo. It is the art of fitting more or fewer notes into the same
rhythmic cycle.
• Ekgun: Playing in single speed (one bol per beat).
• Dugun: Double speed (two bols per beat).
• Tigun: Triple speed (three bols per beat).
• Chaugun: Four times the speed (four bols per beat).
Think of it like walking, jogging, and running. The tala cycle remains the same, but the
pace of your steps changes.
Deepchandi Taal in Ekgun (Basic Form)
Before we move to Dugun and Tigun, let’s recall the basic form (Ekgun):
Dha Dhin | Dhin Dha Dha | Tin Tin | Ta Ta Dhin Dhin Dha Dha
Each bol matches one beat. This is the natural, steady way of playing Deepchandi.
Deepchandi Taal in Dugun (Double Speed)
In Dugun, we fit two bols per beat. Since Deepchandi has 14 beats, Dugun will have 28 bols
in one cycle.
Notation:
Dha Dha Dhin Dhin | Dhin Dhin Dha Dha Dha Dha | Tin Tin Tin Tin | Ta Ta Ta Ta Dhin Dhin
Dhin Dhin Dha Dha Dha Dha
Explanation:
• Every beat now carries two strokes.
• The flow feels faster, more energetic, but still within the same 14-beat cycle.
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• Dugun is often used to add sparkle in thumri or to show tabla virtuosity.
Imagine the singer stretching a romantic line, while the tabla player fills the space with
lively Dugun patterns—it feels like the rhythm is dancing.
Deepchandi Taal in Tigun (Triple Speed)
In Tigun, we fit three bols per beat. Since Deepchandi has 14 beats, Tigun will have 42 bols
in one cycle.
Notation:
Dha Dha Dha Dhin Dhin Dhin | Dhin Dhin Dhin Dha Dha Dha Dha Dha Dha | Tin Tin Tin Tin
Tin Tin | Ta Ta Ta Ta Ta Ta Dhin Dhin Dhin Dhin Dhin Dhin Dha Dha Dha Dha Dha Dha
Explanation:
• Every beat now carries three strokes.
• The rhythm feels even more intense, like a rapid flow of energy.
• Tigun is used in tabla solos or fast improvisations to thrill the audience.
Imagine the tabla racing ahead in Tigun, yet landing perfectly back on the sam. It’s like
watching a dancer spin faster and faster, then stop gracefully at the exact right moment.
Why Dugun and Tigun Matter
• They show the tabla player’s control over rhythm.
• They add variety and excitement to the performance.
• They help in building musical tension and release—starting slow in Ekgun, moving to
Dugun for energy, and Tigun for climax.
• They make the performance interactive, as the audience feels the thrill of speed and
precision.
Wrapping It All Together
So, in Deepchandi Taal (14 beats):
• Ekgun: One bol per beat (basic form).
• Dugun: Two bols per beat (28 bols in one cycle).
• Tigun: Three bols per beat (42 bols in one cycle).
Together, they show how rhythm can be both steady and dynamic. Deepchandi provides the
graceful structure, while Dugun and Tigun add movement and energy.
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“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
