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GNDU QUESTION PAPERS 2023
BA/BSc 6
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. Describe any two of the following terms:
(a) Intensity
(b) Timbre
(c) Pitch
2. What is the importance of Tabla as a solo vadan ?
SECTION-B
3. Write two Tukras, two Paran and one Rella in chartal.
4. Write the Peshkar and one Farmaishi Paran in maal.
SECTION-C
5. Describe any one life sketch of the following:
(a) Yogmaya Shukla
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(b) Anuradha Pal
6. Write a detailed structure and formaon of Tabla,
SECTION-D
7. Which percussion instruments are used in Gurmat Sangeet? Explain them.
8. Which sound techniques are used for tabla accompanying with dierent singing styles?
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GNDU ANSWER PAPERS 2023
BA/BSc 6
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. Describe any two of the following terms:
(a) Intensity
(b) Timbre
(c) Pitch
Ans: (a) Intensity
Imagine you’re sitting in your room and someone gently taps on the door. You hear a soft
sound. Now imagine the same door being slammed loudly. The type of sound is similar—it’s
still the door—but the loudness has changed.
This loudness of a sound is what we call intensity.
What is Intensity?
Intensity is the strength or loudness of a sound.
It tells us how powerful or weak a sound is when it reaches our ears.
In scientific terms, intensity depends on how much energy the sound wave carries. A sound
wave with more energy feels louder; one with less energy feels softer.
Simple Everyday Examples
• A whisper → low intensity
• Normal talking → medium intensity
• Shouting → high intensity
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• Thunder → very high intensity
So, intensity is basically the difference between soft and loud sounds.
Why Does Intensity Change?
Intensity mainly depends on amplitude of the sound wave (the height of the wave).
• Bigger wave → louder sound → higher intensity
• Smaller wave → softer sound → lower intensity
Think of ocean waves:
Small ripples make gentle splashes, but big waves crash loudly. Sound works similarly.
How We Perceive Intensity
Our ears and brain translate intensity into loudness. That’s why two people standing at
different distances from the same speaker hear different intensities:
• Close to speaker → louder
• Far away → softer
Importance of Intensity
Intensity helps us:
• Detect danger (sirens, alarms)
• Enjoy music dynamics (soft vs loud parts)
• Communicate emotions (gentle voice vs angry shout)
So, intensity answers the question:
“How loud or soft is the sound?”
(b) Timbre
Now imagine two people playing the same musical note on two different instruments—say
a flute and a violin. Both play the same pitch (same note) and at the same loudness (same
intensity). But you can still easily tell which is which.
Why? Because each instrument has its own unique sound quality.
That special quality is called timbre.
What is Timbre?
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Timbre is the tone color or sound quality that makes one sound different from another,
even if they have the same pitch and intensity.
In simple words:
Timbre is what makes sounds recognizable.
Everyday Examples
• Your friend’s voice vs your teacher’s voice
• Guitar vs piano
• Violin vs flute
• Male voice vs female voice
Even when speaking the same word at the same loudness, voices sound different because of
timbre.
Why Do Sounds Have Different Timbres?
Every sound is actually made of many small vibrations combined. These are called
overtones or harmonics.
Different instruments or voices produce different combinations of harmonics. That mixture
creates a unique sound texture—like different flavors in food.
Think of it like this:
• Same ingredient (note)
• Different recipe (harmonics)
• Different taste (timbre)
How We Perceive Timbre
Our brain recognizes patterns in sound waves.
This allows us to instantly identify:
• Who is speaking
• Which instrument is playing
• Whether sound is metallic, warm, nasal, bright, etc.
That’s why you can recognize someone’s voice on the phone without seeing them.
Importance of Timbre
Timbre makes music rich and interesting. Without it:
• All instruments would sound the same
• Voices would be indistinguishable
• Music would be dull and mechanical
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So, timbre answers the question:
“What kind of sound is it?”
(c) Pitch
Now imagine a small child singing and then a deep-voiced adult man singing. The child’s
voice sounds high, and the man’s voice sounds low.
This difference is called pitch.
What is Pitch?
Pitch is the quality of sound that tells us how high or low a sound is.
It depends on how fast the sound wave vibrates (frequency).
• Fast vibration → high pitch
• Slow vibration → low pitch
Everyday Examples
• Bird chirping → high pitch
• Woman’s voice → higher pitch
• Man’s voice → lower pitch
• Drum → low pitch
• Whistle → high pitch
So pitch is the difference between sharp and deep sounds.
Why Does Pitch Change?
Pitch depends on frequency (number of vibrations per second).
More vibrations per second → higher pitch
Fewer vibrations per second → lower pitch
Think of a rubber band:
• Tight band → vibrates fast → high pitch
• Loose band → vibrates slow → low pitch
How We Perceive Pitch
Our ears detect vibration speed and send signals to the brain.
That’s how we recognize musical notes like:
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• Sa, Re, Ga…
• Do, Re, Mi…
Without pitch, melodies could not exist.
Importance of Pitch
Pitch helps us:
• Recognize music notes
• Distinguish speech tones
• Express emotion (excited voice = higher pitch)
• Understand language patterns
So pitch answers the question:
“How high or low is the sound?”
Bringing It All Together
Let’s combine the three concepts using a simple real-life example:
Imagine someone calls your name from another room.
• If they whisper → low intensity
• If they shout → high intensity
You recognize who is calling → because of timbre
You know whether the voice is high or deep → because of pitch
So whenever we hear sound, our brain automatically analyzes:
• Loudness → Intensity
• Sound identity → Timbre
• High/Low → Pitch
Easy Memory Trick
You can remember the three terms like this:
• Intensity = Loud or Soft
• Pitch = High or Low
• Timbre = Sound Character
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Or a fun shortcut:
“How loud, how high, and who?”
• How loud → Intensity
• How high → Pitch
• Who/what → Timbre
Conclusion
Sound is not just a simple vibration—it carries multiple qualities that give it meaning and
identity. Intensity tells us how strong a sound is, pitch tells us how high or low it is, and
timbre tells us what kind of sound or source it comes from. Together, these three properties
allow us to enjoy music, recognize voices, understand speech, and interpret the world of
sound around us.
Whenever you listen carefully to any sound—from a musical instrument to someone
speaking—you’ll notice these three features working together. And once you understand
them, sound itself becomes a richer and more fascinating experience.
2. What is the importance of Tabla as a solo vadan ?
Ans: Understanding Tabla as a Solo Instrument
The Tabla consists of two drums—the dayan (right-hand drum, treble) and the bayan (left-
hand drum, bass). Together, they produce a wide range of sounds, from sharp strokes to
deep resonant tones. In solo vadan, the Tabla is not just keeping rhythm; it becomes the
main voice, showcasing creativity, technical mastery, and emotional depth.
Importance of Tabla in Solo Vadan
1. Rhythmic Exploration (Taal and Laya)
• Tabla solo performances revolve around taals (rhythmic cycles) such as Teentaal (16
beats), Jhaptaal (10 beats), or Rupak (7 beats).
• The artist explores these cycles through variations in laya (tempo)—vilambit (slow),
madhya (medium), and drut (fast).
• This rhythmic journey captivates the audience, much like a raga unfolds in melodic
music.
2. Showcasing Compositions
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Tabla solo vadan includes a rich variety of traditional compositions:
• Peshkar: Introductory improvisation, setting the mood.
• Kayda: A theme with variations, showing creativity within rules.
• Rela: Fast, flowing patterns resembling a musical stream.
• Paran: Powerful compositions often borrowed from pakhawaj tradition.
• Tihai: A phrase repeated thrice to conclude on the sam (first beat).
Each of these highlights the depth of Tabla repertoire and the performer’s skill.
3. Dialogue with Silence
Unlike accompaniment, solo Tabla allows the artist to play with sound and silence. Pauses,
sudden bursts, and delicate strokes create drama and tension, keeping listeners engaged.
4. Expression of Gharanas (Styles)
Tabla has several gharanas (schools of playing), such as Delhi, Lucknow, Ajrada, Farukhabad,
and Benares.
• Each gharana has unique compositions and playing techniques.
• In solo vadan, artists present their gharana’s identity, while also blending influences
from others.
• This makes every solo performance a cultural showcase.
5. Spiritual and Intellectual Depth
• Tabla solo is not just entertainment—it is a meditative journey.
• The cyclic nature of taal mirrors the cycles of life, and the improvisations reflect
creativity within discipline.
• For the performer, it is both intellectual (mathematical precision) and spiritual
(artistic surrender).
6. Contribution to Indian Classical Tradition
• Solo Tabla performances preserve ancient rhythmic traditions while allowing
innovation.
• They highlight the Tabla as an independent art form, not just an accompanist.
• Legendary maestros like Pt. Kanthe Maharaj, Ustad Ahmed Jan Thirakwa, Pt. Kishan
Maharaj, and Ustad Zakir Hussain elevated Tabla solo to global recognition.
Example of a Solo Tabla Performance
Imagine a solo in Teentaal (16 beats):
• The artist begins with a slow peshkar, introducing strokes gently.
• Then moves into kayda, presenting a theme and improvising variations.
• A fast rela follows, dazzling the audience with speed and clarity.
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• Finally, a tihai lands perfectly on the sam, concluding the cycle with precision.
This journey feels like a story told through rhythm—starting calmly, building intensity, and
ending with satisfaction.
Why Tabla Solo Matters Today
• Preservation of Tradition: Keeps alive centuries-old compositions.
• Innovation: Allows artists to experiment with new rhythms and fusion styles.
• Global Appeal: Tabla solos are performed worldwide, introducing audiences to the
richness of Indian rhythm.
• Educational Value: Students learn discipline, creativity, and mathematical precision
through solo practice.
Conclusion
The importance of Tabla as a solo vadan lies in its ability to transform rhythm into art. It is
not merely about keeping time—it is about creating a universe of sound, where cycles of
taal become canvases for creativity, discipline, and expression. Solo Tabla performances
showcase the depth of compositions, the uniqueness of gharanas, and the brilliance of the
artist’s imagination.
SECTION-B
3. Write two Tukras, two Paran and one Rella in chartal.
Ans: Understanding the Basics First
What is Chartal?
Chartal (also written Chautal) is a classical 12-beat (12 matra) taal used mainly in dhrupad,
dhamar, and traditional tabla/pakhawaj compositions.
The basic structure of Chartal is divided into 6 divisions (vibhag) of 2 beats each:
Chartal Theka:
Dha Dha | Din Ta | Kita Dha | Din Ta | Kita Dha | Tin Ta
Matra counting:
1 2 | 3 4 | 5 6 | 7 8 | 9 10 | 11 12
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Clap/Wave pattern:
(All claps — no khali)
So every composition you write must fit into 12 beats.
What are Tukra, Paran, and Rela?
Tukra
A Tukra is a short, attractive rhythmic composition usually ending with a Tihai (phrase
repeated 3 times).
It is playful and crisp.
Think of Tukra like a small rhythmic firework.
Paran
A Paran is a powerful composition derived from pakhawaj bols (like Dha, Ta, Kita, Gadi,
etc.).
It sounds bold and majestic.
Think of Paran like a royal drum announcement.
Rela
A Rela is a fast-flowing composition made of repeated patterns.
It sounds like continuous motion.
Think of Rela like a flowing river of rhythm.
Now Let’s Write Compositions in Chartal
We will create:
• 2 Tukra
• 2 Paran
• 1 Rela
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All properly fitting 12 beats.
Tukra 1 (Chartal)
Bol:
Dha Kita Dha Ta | Kita Dha Ta Kita | Dha Ta Kita Dha | Ta Dha (Tihai)
Tihai ending:
Dha Ta Kita Dha Ta Kita Dha Ta Kita Dha
Full Tukra:
Dha Kita Dha Ta Kita Dha Ta Kita | Dha Ta Kita Dha Ta Dha
Dha Ta Kita Dha Ta Kita Dha Ta Kita Dha
Dha Ta Kita Dha Ta Kita Dha Ta Kita Dha
(Ends exactly on Sam)
Tukra 2 (Chartal)
Bol:
Dha Dha Kita Ta | Kita Dha Dha Kita | Ta Kita Dha Ta | Dha (Tihai)
Tihai:
Dha Kita Dha Dha Kita Dha Dha Kita Dha
Full Tukra:
Dha Dha Kita Ta Kita Dha Dha Kita
Ta Kita Dha Ta Dha
Dha Kita Dha Dha Kita Dha Dha Kita Dha
Dha Kita Dha Dha Kita Dha Dha Kita Dha
Dha Kita Dha Dha Kita Dha Dha Kita Dha
Paran 1 (Chartal)
Paran uses pakhawaj-style bols.
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Bol:
Dha Ta Kita Gadi Gena | Dha Ta Kita Dha
Gadi Gena Dha Ta | Kita Dha (Tihai)
Tihai:
Dha Ta Kita Gadi Gena Dha Ta Kita Dha
Full Paran:
Dha Ta Kita Gadi Gena Dha Ta Kita Dha
Gadi Gena Dha Ta Kita Dha
Dha Ta Kita Gadi Gena Dha Ta Kita Dha
Dha Ta Kita Gadi Gena Dha Ta Kita Dha
Dha Ta Kita Gadi Gena Dha Ta Kita Dha
Strong and majestic feel
Paran 2 (Chartal)
Bol:
Dha S - Dha Ta Kita | Dha Gadi Gena
Ta Kita Dha Gadi | Gena Dha (Tihai)
Tihai:
Dha Gadi Gena Dha Gadi Gena Dha Gadi Gena
Full Paran:
Dha S Dha Ta Kita Dha Gadi Gena
Ta Kita Dha Gadi Gena Dha
Dha Gadi Gena Dha Gadi Gena Dha Gadi Gena
Dha Gadi Gena Dha Gadi Gena Dha Gadi Gena
Dha Gadi Gena Dha Gadi Gena Dha Gadi Gena
Rela in Chartal
Rela must be flowing and repetitive.
Basic Rela Pattern:
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Dha Traka Dha Traka | Kita Taka Dhina Gena
We repeat and develop it in 12 beats.
Full Rela:
Dha Traka Dha Traka Kita Taka Dhina Gena
Dha Traka Dha Traka Kita Taka Dhina Gena
Kita Taka Dhina Gena Dha Traka Dha Traka
Kita Taka Dhina Gena Dha (Tihai)
Tihai:
Dha Traka Dha Traka Kita Taka Dhina Gena
Dha Traka Dha Traka Kita Taka Dhina Gena
Dha Traka Dha Traka Kita Taka Dhina Gena
Fast, flowing effect
How to Understand This Easily
Imagine Chartal as a 12-step circle.
Every composition must:
✔ Start somewhere in the circle
✔ Travel rhythmically
✔ Land exactly on beat 1 (Sam)
Tukra = small design
Paran = bold design
Rela = flowing design
Final Answer
Two Tukra, Two Paran and One Rela in Chartal
Tukra 1:
Dha Kita Dha Ta Kita Dha Ta Kita | Dha Ta Kita Dha Ta Dha
Dha Ta Kita Dha Ta Kita Dha Ta Kita Dha (×3)
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Tukra 2:
Dha Dha Kita Ta Kita Dha Dha Kita | Ta Kita Dha Ta Dha
Dha Kita Dha Dha Kita Dha Dha Kita Dha (×3)
Paran 1:
Dha Ta Kita Gadi Gena Dha Ta Kita Dha
Gadi Gena Dha Ta Kita Dha
Dha Ta Kita Gadi Gena Dha Ta Kita Dha (×3)
Paran 2:
Dha S Dha Ta Kita Dha Gadi Gena
Ta Kita Dha Gadi Gena Dha
Dha Gadi Gena Dha Gadi Gena Dha Gadi Gena (×3)
Rela:
Dha Traka Dha Traka Kita Taka Dhina Gena
Dha Traka Dha Traka Kita Taka Dhina Gena
Kita Taka Dhina Gena Dha Traka Dha Traka
Dha Traka Dha Traka Kita Taka Dhina Gena (×3)
4. Write the Peshkar and one Farmaishi Paran in maal.
Ans: What is Mattal?
• Mattal is a 9-beat cycle, divided into sections (vibhags).
• Its structure is: 2 + 2 + 2 + 3 = 9 beats.
• The sam (first beat) is the most important point where compositions resolve.
Theka (basic pattern of Mattal) can be expressed as:
Dha Dha | Dhin Dhin | Dha Dha | Tin Tin Tin
Peshkar in Mattal
The Peshkar is the introductory composition in a tabla solo. It sets the mood, introduces the
taal, and allows the artist to explore variations gradually.
Example Notation of Peshkar in Mattal:
Dha - Dha | Dhin - Dhin | Dha - Dha | Tin Tin Tin
Dha Dha Dha | Dhin Dhin Dhin | Dha Dha Dha | Tin Tin Tin
• The first line introduces the basic strokes slowly.
• The second line expands with more repetitions, showing development.
• The artist improvises further, adding variations while always returning to the sam.
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Features of Peshkar:
• Slow and dignified.
• Builds complexity step by step.
• Highlights the tonal beauty of the tabla.
Farmaishi Paran in Mattal
A Paran is a powerful composition, often borrowed from the pakhawaj tradition. A
Farmaishi Paran is a special type requested by the audience or composed to showcase
brilliance.
Example Notation of Farmaishi Paran in Mattal:
Dha Dha - | Ta Kita Dha | Ghe Na Dha | Dha Dha Tin Tin Tin
Dha - Ghe | Dha Dha Ta | Kita Dha Ghe | Na Dha Tin Tin Tin
• Strong bols like dha, ghe, and na give it a majestic feel.
• The composition often ends with a tihai (a phrase repeated thrice to land on sam).
Features of Farmaishi Paran:
• Forceful and energetic.
• Often complex, showcasing mathematical precision.
• Creates excitement and grandeur in the performance.
How They Work Together in a Solo
• A tabla solo in Mattal often begins with Peshkar, slowly introducing the taal.
• Then comes Kayda, Rela, and other variations.
• The Farmaishi Paran is played later, adding dramatic power and concluding sections
with brilliance.
Example Flow in Performance
1. Peshkar: Artist plays slow, expanding variations of Mattal.
2. Kayda: A theme with improvisations.
3. Rela: Fast, flowing strokes.
4. Farmaishi Paran: A powerful climax, often ending with a tihai.
This sequence feels like a rhythmic story—starting gently, building intensity, and ending
with grandeur.
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Conclusion
In Mattal, the Peshkar introduces the taal with grace, while the Farmaishi Paran showcases
strength and artistry. Together, they highlight the tabla’s dual nature—delicate and
powerful, disciplined yet creative.
• Peshkar = slow unfolding, rhythmic exploration.
• Farmaishi Paran = dramatic climax, showcasing mastery.
This combination makes Mattal solos deeply engaging, proving that rhythm itself can be as
expressive and captivating as melody.
SECTION-C
5. Describe any one life sketch of the following:
(a) Yogmaya Shukla
(b) Anuradha Pal
Ans: Anuradha Pal is one of India’s most inspiring and groundbreaking musicians. She is
known as the first professional female tabla maestro in the world. In a field traditionally
dominated by men, she created her own identity through dedication, courage, and
extraordinary talent. Her life story is not just about music—it is about breaking barriers,
following passion, and proving that determination can overcome any social limitation.
Early Life and Childhood
Anuradha Pal was born in Mumbai, India, into a culturally rich family that valued art and
education. From a very young age, she showed a deep interest in rhythm and music. While
most children played with toys, Anuradha was fascinated by beats, sounds, and patterns.
She would often tap rhythms on tables and objects around her, showing a natural musical
instinct.
Her parents recognized her talent early and supported her interest in music. However,
learning tabla was not a common path for girls at that time. Tabla was traditionally
considered a male instrument, and society often discouraged girls from pursuing it
professionally. Despite this, Anuradha’s passion was stronger than social expectations.
Musical Training and Guru
Anuradha Pal received rigorous classical training under the legendary tabla maestro Ustad
Alla Rakha, one of the greatest tabla players in Indian classical music. Training under such a
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master required immense discipline, patience, and dedication. She spent long hours
practicing complex rhythms, hand techniques, and compositions.
Later, she also learned from Ustad Zakir Hussain, the world-famous tabla virtuoso and son
of Alla Rakha. Learning from two legendary gurus shaped her musical depth and mastery.
Under their guidance, she developed exceptional speed, clarity, and creativity in tabla
playing.
Her training years were not easy. She had to prove herself repeatedly because many people
doubted whether a woman could achieve excellence in tabla. Instead of feeling discouraged,
Anuradha used these challenges as motivation to work harder.
Struggles and Breaking Barriers
The biggest challenge in Anuradha Pal’s life was social bias. During her early career, many
organizers and musicians refused to accept a female tabla player. Some audiences were
surprised or even skeptical when they saw a woman performing tabla on stage.
There were also practical obstacles. Performance opportunities were limited, and
recognition came slowly. However, Anuradha never gave up. She continued performing
wherever possible, improving her art, and believing in her ability.
Gradually, her talent began to speak louder than prejudice. Audiences started appreciating
her powerful yet graceful style. Her performances demonstrated that musical excellence has
no gender.
Professional Career and Achievements
Anuradha Pal’s career grew rapidly as she began performing with leading musicians across
India and the world. She accompanied many renowned artists in classical, fusion, and world
music concerts. Her tabla playing is known for its strength, precision, and emotional depth.
One of her greatest achievements was becoming the first woman in history to perform
tabla professionally on international stages. She performed in prestigious venues and
festivals worldwide, representing Indian classical music on the global platform.
Another milestone in her life was the creation of Stree Shakti, India’s first all-women
classical music ensemble. This group brought together highly skilled female musicians and
showcased their talent on major stages. Through Stree Shakti, Anuradha promoted
women’s empowerment in music and challenged traditional gender roles.
Her ensemble toured internationally and received widespread acclaim. It demonstrated that
women could perform classical music at the highest professional level with authority and
brilliance.
Musical Style and Contribution
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Anuradha Pal’s tabla playing combines tradition and innovation. She respects the classical
grammar of tabla but also explores new rhythmic ideas. Her performances are energetic,
expressive, and technically brilliant.
She has worked in various musical genres, including:
• Indian classical music
• Fusion music
• Film music
• Global collaborations
Her versatility helped expand the role of tabla beyond classical accompaniment. She showed
that tabla could be a powerful solo instrument and a global rhythmic language.
Through workshops, lectures, and performances, she has also educated audiences about
rhythm and Indian percussion. She continues to inspire young musicians, especially girls, to
pursue tabla without fear.
Awards and Recognition
Anuradha Pal has received many awards and honors for her contributions to music. These
include national and international recognition for her excellence and pioneering role as a
female percussionist.
She has been honored not only as a musician but also as a symbol of women’s
empowerment. Her success changed perceptions about women in percussion instruments,
opening doors for future generations.
Today, many female tabla players around the world see her as a role model and trailblazer.
Personality and Legacy
Beyond her musical brilliance, Anuradha Pal is admired for her determination, confidence,
and independence. She believed in her passion even when society doubted her. Her life
teaches that talent combined with perseverance can break even the strongest barriers.
She also emphasizes discipline and hard work in music. According to her, mastery of tabla
requires years of practice, patience, and devotion. Her journey shows that success in art is
not instant—it is built slowly through dedication.
Her legacy is not only musical but social. She changed how the world views women in
rhythm and percussion. She proved that art has no gender, and excellence belongs to those
who pursue it sincerely.
Conclusion
Anuradha Pal’s life is a story of courage, passion, and achievement. From a young girl
fascinated by rhythm to the world’s first professional female tabla maestro, her journey
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inspires millions. She overcame social barriers, mastered a demanding art form, and created
new opportunities for women in music.
Her contributions to Indian classical music and women’s empowerment are immense.
Through her performances and initiatives like Stree Shakti, she reshaped the role of women
in percussion.
In conclusion, Anuradha Pal is not only a great musician but also a pioneer who broke
traditions and created history. Her life reminds us that true talent, supported by
determination, can transform both art and society.
6. Write a detailed structure and formaon of Tabla.
Ans: Basic Structure of Tabla
The Tabla is actually a pair of drums:
1. Dayan (Right-hand drum):
o Smaller in size, played with the right hand.
o Produces sharper, treble sounds.
o Usually made of wood (jackfruit, teak, or rosewood).
2. Bayan (Left-hand drum):
o Larger, played with the left hand.
o Produces deeper, bass sounds.
o Traditionally made of metal (brass, copper), but sometimes clay or wood.
Together, these two drums create a wide range of tones, making the Tabla unique among
percussion instruments.
Detailed Formation of Each Drum
1. Dayan (Right Drum)
• Material: Crafted from solid wood.
• Shape: Cylindrical, tapering slightly towards the bottom.
• Head (Pudi): Made of layers of goat or cow skin.
• Syahi (Black Spot): A circular paste of iron filings, gum, and rice applied at the
center.
o This gives the Tabla its distinct tonal quality and resonance.
• Tuning: Wooden pegs and leather straps around the body allow fine adjustments.
2. Bayan (Left Drum)
• Material: Usually brass or copper, sometimes clay.
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• Shape: Kettle-shaped, wider at the top.
• Head (Pudi): Similar layered skin construction as the Dayan.
• Syahi: Applied at the center, producing deep bass sounds.
• Flexibility: By pressing the heel of the hand on the surface, players can modulate
pitch while playing.
Components of the Tabla
1. Pudi (Drum Head):
o Multi-layered skin stretched tightly.
o Divided into three parts:
▪ Kinar (outer ring): Produces lighter sounds.
▪ Maidan (middle area): Produces resonant tones.
▪ Syahi (black spot): Produces clear, pitched sounds.
2. Gajara (Braid):
o A woven ring that holds the skin tightly around the drum.
3. Baddhi (Straps):
o Leather straps running vertically, used for tightening and tuning.
4. Gatta (Wooden Pegs):
o Inserted between straps and shell to fine-tune pitch.
5. Chutta (Cushion):
o A ring-shaped cloth base placed under the drums for stability.
Formation Process
1. Crafting the Shell:
o Wood is carved for the Dayan; metal is molded for the Bayan.
o The shape is carefully designed to produce desired resonance.
2. Preparing the Skin:
o Animal skin is cleaned, layered, and cut to size.
o The syahi paste is applied meticulously at the center.
3. Assembly:
o The skin is tied with leather straps around the shell.
o Gatta pegs are inserted for tuning.
4. Tuning:
o The Dayan is tuned to the tonic note of the raga being performed.
o The Bayan provides complementary bass tones.
Unique Features of Tabla’s Structure
• Wide Tonal Range: Unlike most drums, Tabla can produce both treble and bass
sounds.
• Pitch Control: The Dayan can be tuned precisely, while the Bayan allows pitch
modulation during play.
• Resonance: The syahi creates sustained, pitched sounds, giving Tabla its melodic
quality.
• Versatility: Suitable for solo performances, accompaniment, and fusion music.
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Importance of Structure in Performance
• The Dayan’s sharpness allows intricate rhythmic patterns.
• The Bayan’s depth adds dramatic bass effects.
• Together, they enable compositions like peshkar, kayda, rela, tukra, paran, and
tihai.
• The structure supports both mathematical precision and expressive artistry, making
Tabla unique among percussion instruments.
Conclusion
The Tabla’s structure and formation are a blend of science and art.
• The Dayan provides clarity and precision.
• The Bayan offers depth and flexibility.
• The syahi ensures resonance and tonal richness.
This careful design makes Tabla not just a drum but a musical instrument capable of
melody, rhythm, and emotion. Its formation reflects centuries of craftsmanship, and its
structure allows performers to explore rhythm as an art form in itself.
SECTION-D
7. Which percussion instruments are used in Gurmat Sangeet? Explain them.
Ans: Gurmat Sangeet is the sacred musical tradition of Sikhism. It is the music used in the
singing of Gurbani Kirtan (devotional hymns from the Guru Granth Sahib). This music is not
meant for entertainment or performance—it is meant to create a deep spiritual connection
with the Divine. Every element of Gurmat Sangeet, including the instruments, is chosen
carefully to support devotion, humility, and meditation.
Among the instruments used in Gurmat Sangeet, percussion instruments (rhythm
instruments) play a very important role. They provide the rhythmic base that keeps the
singers together and supports the flow of the shabad (hymn). Unlike loud or aggressive
percussion in some musical traditions, Gurmat percussion is usually gentle, balanced, and
meditative.
Let us understand in a simple and engaging way the main percussion instruments used in
Gurmat Sangeet.
1. Jori (Traditional Sikh Tabla)
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Jori is the most authentic and traditional percussion instrument of Gurmat Sangeet. It looks
similar to tabla but has important differences.
What is Jori?
Jori is a pair of drums:
• Dayan (right drum) – wooden
• Bayan (left drum) – also wooden (not metal like tabla)
This gives Jori a warm, deep, and earthy sound, which suits devotional singing.
Why is Jori special in Gurmat Sangeet?
Historically, Jori was used in the time of Sikh Gurus. It is believed that Guru Arjan Dev Ji’s
court musicians used instruments similar to Jori. Because of this historical connection, Jori is
considered the original Sikh percussion instrument.
Sound and Style
Compared to tabla:
• Softer and more rounded tone
• Less sharp and metallic
• More meditative
This helps keep attention on Gurbani rather than on rhythmic display.
Role in Kirtan
Jori:
• Maintains taal (rhythm cycle)
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• Supports the raga mood
• Follows the singing (does not dominate)
So in Gurmat Sangeet, Jori is not for showing skill—it is for serving the shabad.
2. Pakhawaj
Another important percussion instrument used in Gurmat Sangeet is the Pakhawaj.
What is Pakhawaj?
Pakhawaj is a long, barrel-shaped drum played horizontally with both hands. It is older than
tabla and belongs to ancient Indian temple and dhrupad traditions.
Because Gurmat Sangeet has connections with Dhrupad style (ancient devotional music),
Pakhawaj fits naturally into it.
Sound Quality
Pakhawaj produces:
• Deep
• Resonant
• Majestic
• Spiritual tones
Its sound feels serious and meditative, which suits Gurbani recitation.
Historical Link
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In the Mughal and Bhakti period, sacred music was often accompanied by Pakhawaj. Since
Sikh Gurus lived in that era, Pakhawaj was part of the musical environment of the time.
Role in Gurmat Sangeet
Pakhawaj is especially used in:
• Traditional raag-based kirtan
• Slow, dignified shabads
• Dhrupad-style Gurbani singing
It gives a feeling of grandeur and depth to kirtan.
3. Tabla (Modern Use)
Today, the most commonly seen percussion instrument in Gurudwaras is the Tabla.
What is Tabla?
Tabla is a pair of drums:
• Right drum (dayan) – wooden
• Left drum (bayan) – metal or clay
It developed later from Pakhawaj traditions.
Why is Tabla used now?
Although not the oldest Sikh percussion, tabla became popular because:
• Easier to learn
• Widely available
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• Portable
• Versatile rhythms
So over time, it replaced Jori in many Gurudwaras.
Sound and Character
Tabla sound is:
• Clear and bright
• Rhythmic and lively
• Precise
This works well with modern kirtan styles.
Role in Gurudwara Kirtan
Tabla today:
• Keeps taal for sangat singing
• Supports harmonium and vocals
• Guides congregation rhythm
Even though Jori is traditional, tabla is now most common in Sikh worship.
4. Chimta (Occasional Devotional Rhythm)
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Chimta is a simple Punjabi folk percussion instrument sometimes used in devotional singing
outside formal Gurmat Sangeet.
What is Chimta?
It is a metal tong-like instrument with small bells attached. When shaken or struck, it
produces jingling rhythm.
Use in Sikh Devotion
Chimta is not part of classical Gurmat Sangeet tradition, but it is used in:
• Dhadi singing
• Folk kirtan
• Nagar kirtan processions
• Devotional gatherings
It adds energy and participation.
Symbolic Role
Chimta represents:
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• Simplicity
• Folk devotion
• Community participation
It shows that Gurbani singing is open to everyone—not only trained musicians.
Spiritual Philosophy Behind Percussion in Gurmat Sangeet
In Gurmat Sangeet, percussion instruments are not used for performance or showmanship.
Their purpose is spiritual.
The main principles are:
1. Rhythm supports meditation
Steady rhythm helps mind focus on Gurbani.
2. Instruments must not dominate
Voice and shabad remain central.
3. Sound should be calm and balanced
Loud or flashy percussion is discouraged.
4. Tradition is respected
Older instruments like Jori and Pakhawaj connect us to Guru period.
Historical Perspective
During the time of Sikh Gurus:
• String instruments like Rabab and Taus were primary
• Percussion like Jori and Pakhawaj supported them
• Music followed raga and taal strictly
Later changes:
• Harmonium entered in colonial period
• Tabla replaced Jori in many places
• Simpler kirtan styles developed
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Today there is revival:
Many Sikh musicians are bringing back:
• Jori
• Pakhawaj
• Rabab
• Traditional raag kirtan
This revival aims to restore original Gurmat Sangeet.
How Percussion Shapes the Experience of Kirtan
Imagine kirtan without percussion—it would feel floating and unstructured.
Now add gentle Jori:
• Heartbeat-like rhythm
• Calm repetition
• Meditative cycle
Add Pakhawaj:
• Sacred temple atmosphere
• Depth and gravity
Add Tabla:
• Clear structure for congregation
• Accessible rhythm
So percussion is like the pulse of kirtan—steady, grounding, and supportive.
Conclusion
Percussion instruments in Gurmat Sangeet are more than musical tools—they are spiritual
companions to Gurbani. The main percussion instruments used are:
• Jori – the original Sikh percussion, warm and meditative
• Pakhawaj – ancient devotional drum, deep and majestic
• Tabla – widely used modern rhythmic support
• Chimta – simple folk devotional rhythm
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Each instrument contributes to the sacred atmosphere of kirtan. Their purpose is not
performance but devotion, not display but surrender. Through rhythm, they help the singer
and listener enter a state of remembrance (simran) and spiritual peace.
8. Which sound techniques are used for tabla accompanying with dierent singing styles?
Ans: The Role of Tabla in Accompaniment
• Tabla provides the theka (basic rhythmic cycle) that anchors the performance.
• It adjusts to the laya (tempo) chosen by the singer—slow, medium, or fast.
• The player listens carefully, responding to improvisations and emotional shifts.
• Techniques vary depending on whether the style is classical (like Khayal), semi-
classical (like Thumri), devotional (like Bhajan), or lighter forms (like Ghazal).
Sound Techniques Across Singing Styles
1. Khayal Singing
• Vilambit Khayal (slow tempo):
o Tabla plays a restrained, steady theka, often in Teentaal or Ektaal.
o Soft strokes like dha, dhin, and na are emphasized to create spaciousness.
o The player avoids flashy variations, allowing the singer to explore the raga.
• Drut Khayal (fast tempo):
o Tabla becomes more energetic, adding variations, tukras, and tihais.
o Relas (fast flowing patterns) may be introduced to match the singer’s
improvisations.
Technique: Balance between patience in slow tempo and joyful energy in fast tempo.
2. Thumri
• Thumri is expressive and romantic, often depicting moods of love and longing.
• Tabla accompaniment here is delicate, with emphasis on laggi (light, playful
patterns).
• The player uses softer strokes and improvises around the theka to mirror the singer’s
emotional nuances.
• Frequent use of tihai to highlight lyrical phrases.
Technique: Ornamented playing, sensitive to the singer’s expressions.
3. Bhajan and Devotional Music
• Tabla provides simple, steady rhythms to support group singing.
• Common taals: Dadra (6 beats), Keherwa (8 beats).
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• Use of fillers, variations, and occasional tihai to add liveliness.
• The emphasis is on clarity and accessibility, so the audience can sing along.
Technique: Straightforward, devotional, with rhythmic support rather than complexity.
4. Ghazal
• Ghazals require subtle, understated accompaniment.
• Tabla plays softly, often in Dadra or Keherwa, with minimal improvisation.
• The strokes are gentle, ensuring the poetry and emotion remain central.
Technique: Light touch, restrained variations, enhancing mood without overpowering.
5. Dhrupad and Pakhawaj-based Styles
• Though traditionally accompanied by pakhawaj, tabla can adapt.
• Strong, resonant strokes (dha, ghe, na) are used to mimic pakhawaj depth.
• The playing is powerful, emphasizing dignity and grandeur.
Technique: Majestic, forceful, highlighting the solemnity of Dhrupad.
Key Techniques Tabla Players Use
1. Theka Maintenance: Keeping the rhythmic cycle steady.
2. Dynamic Control: Adjusting volume and intensity to suit the singer’s mood.
3. Improvisation: Adding variations, laggis, or tihais at appropriate moments.
4. Listening Sensitivity: Responding to the singer’s improvisations instantly.
5. Tuning: Ensuring the dayan (right drum) is tuned to the singer’s tonic note.
Example Scenario
Imagine a concert where the vocalist begins with a Vilambit Khayal in Teentaal:
• The tabla plays a slow, steady theka, giving space for raga exploration.
• As the tempo increases to Drut Khayal, the tabla bursts into energetic relas and
tihais.
• Later, the singer shifts to a Thumri in Dadra taal. The tabla softens, adding playful
laggis to match the romantic mood.
• Finally, a Bhajan in Keherwa brings the audience together, with tabla providing
simple, devotional rhythms.
This journey shows how tabla adapts seamlessly, becoming a true musical companion.
Conclusion
The sound techniques of tabla accompaniment vary beautifully across singing styles:
• Khayal: Patient in slow tempo, energetic in fast tempo.
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• Thumri: Playful, ornamented, emotionally sensitive.
• Bhajan: Simple, devotional, supportive.
• Ghazal: Subtle, understated, mood-enhancing.
• Dhrupad: Majestic, forceful, dignified.
In short, the tabla is not just a timekeeper—it is a musical friend that listens, responds, and
elevates the performance. Its adaptability across genres makes it one of the most expressive
percussion instruments in the world.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
