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GNDU QUESTION PAPERS 2024
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. Dene and explain any Two of the following terms:
(a) Intensity
(b) Timbre
(c) Pitch
2. Write two tukras and two hai in mat tal.
SECTION-B
3. What is gat? Write any gat your syllabus.
4. Write two parans and two hai in dhamar taal.
SECTION-C
5. Describe any One life sketch of the following:-
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(a) Aban e Mistri
(b) Yogmaya Shukla.
6. Write any One of the following:-
(a) One kayda with four paltas and one hai in mat tal.
(b) One farmaishi paran and rella in mat tal.
SECTION-D
7. What is the most popular percussion instrument used in gurmat sangeet?
8. What is sound technique of tabla? Explain it in your own views.
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GNDU ANSWER PAPERS 2024
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. Dene and explain any Two of the following terms:
(a) Intensity
(b) Timbre
(c) Pitch
Ans: (a) Intensity
✔ Definition
Intensity refers to the loudness or strength of a sound—in simple words, how loud or soft a
sound is.
✔ Explanation in simple terms
Imagine you are sitting in a quiet room at night. Suddenly, someone drops a heavy metal
plate in the kitchen. You immediately notice the sound because it is loud. Now compare that
with the soft ticking of a clock in the same room. The clock sound is gentle and barely
noticeable.
The difference between these two sounds is intensity.
So, intensity tells us how much energy a sound carries and how loud it feels to our ears.
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✔ Everyday examples
• Whispering → low intensity
• Normal talking → medium intensity
• Shouting → high intensity
• Thunder → very high intensity
✔ Scientific idea (easy understanding)
Sound travels in waves through the air. When these waves are strong and powerful, they
push more energy into our ears, and we hear a loud sound. When the waves are weak, the
sound is soft.
Scientists measure intensity in decibels (dB).
For example:
• Whisper → about 30 dB
• Conversation → about 60 dB
• Traffic noise → about 90 dB
• Jet engine → about 120–140 dB
✔ Important point
Intensity is a physical property of sound (energy level), but what we actually feel is called
loudness. Loudness is our psychological experience of intensity.
In short:
Intensity = physical loudness of sound
(b) Timbre
✔ Definition
Timbre is the quality or tone colour of a sound that makes one sound different from
another, even when they have the same pitch and loudness.
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✔ Explanation in simple terms
Imagine two people singing the same note at the same volume. One is your friend, and the
other is a famous singer. Even though they sing the same pitch and loudness, you can
instantly recognize who is who.
Why?
Because of timbre.
Timbre is what makes:
• A flute sound different from a violin
• A guitar sound different from a piano
• One person’s voice different from another
It is the “personality” of a sound.
✔ Everyday examples
• You can recognize your mother’s voice in a crowd → timbre
• A mobile ringtone vs. a doorbell → different timbre
• Violin vs. harmonium playing same note → different timbre
✔ Why timbre happens (simple science)
When a sound is produced, it is not just one pure vibration. It contains many small
vibrations called overtones or harmonics. Different objects and instruments produce
different combinations of these vibrations.
These unique vibration patterns create the unique tone colour of each sound.
So even if pitch and intensity are the same, the sound still feels different.
✔ Important point
Timbre helps us identify sound sources.
In short:
Timbre = sound identity or tone quality
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(c) Pitch
✔ Definition
Pitch refers to the highness or lowness of a sound—in simple words, how high or deep a
sound seems to our ears.
✔ Explanation in simple terms
Think about the difference between:
• A child’s voice
• A man’s deep voice
The child’s voice sounds high, and the man’s voice sounds low. This difference is pitch.
Similarly in music:
• A whistle → high pitch
• Drum beat → low pitch
So pitch tells us where a sound lies on the scale from high to low.
✔ Everyday examples
• Female voice → higher pitch
• Male voice → lower pitch
• Bird chirping → high pitch
• Thunder → low pitch
✔ Scientific idea (easy understanding)
Pitch depends on how fast something vibrates.
• Fast vibrations → high pitch
• Slow vibrations → low pitch
These vibrations are measured in frequency (Hertz, Hz).
Examples:
• Human speech → about 100–300 Hz
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• Piano middle note → 256 Hz
• Dog whistle → very high frequency
So when vibrations occur many times per second, we hear a high sound. When vibrations
are fewer, we hear a low sound.
✔ Important point
Pitch is the psychological experience of frequency.
In short:
Pitch = perceived highness or lowness of sound
Bringing it all together
Let’s understand these three concepts using one simple example.
Imagine someone playing a guitar:
• If they strike the string softly → low intensity
• If they strike it hard → high intensity
• If they press a different fret → different pitch
• Even with same pitch and loudness, guitar still sounds like guitar → timbre
So every sound we hear has:
• A loudness level → intensity
• A high/low quality → pitch
• A unique identity → timbre
Why these concepts matter
These three sound qualities are very important in many fields:
✔ Music
Musicians use pitch for melody, intensity for expression, and timbre for tone colour.
✔ Psychology
They help us understand hearing and perception.
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✔ Communication
They help us recognize voices and emotions.
✔ Technology
Used in microphones, speakers, audio recording, and sound design.
Final understanding (simple memory trick)
You can remember them easily like this:
• Intensity → Loudness
• Pitch → High/Low
• Timbre → Sound identity
Or even simpler:
Pitch = Note
Intensity = Volume
Timbre = Tone
Conclusion
Sound is not just something we hear—it has structure and qualities that our brain interprets
in different ways. Intensity tells us how powerful a sound is, pitch tells us how high or low it
is, and timbre tells us what kind of sound it is. Together, these three properties allow us to
enjoy music, recognize voices, understand speech, and interpret the world around us
through hearing.
2. Write two tukras and two hai in mat tal.
Ans: Understanding Tala Jhumra
• Structure: Jhumra is a 14-beat cycle (matra).
• Tempo: It is usually played in vilambit laya (slow tempo), making it ideal for khayal
singing.
• Division: The 14 beats are divided into 6 vibhags (sections).
• Sam (first beat): The most important beat, where compositions resolve.
• Khali (empty beat): On the 8th beat, marked by a wave instead of a clap.
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Theka (basic pattern):
Code
Dha - Dha | Din - Ta | Tin - Tin | Ta - Ta | Dha - Dha | Din - Ta
This is the rhythmic skeleton on which compositions (like tukras and tihais) are built.
What is a Tukra?
• A tukra is a short, crisp composition in tabla, usually played at the end of a
performance or as a concluding piece within a tala cycle.
• It is rhythmic, compact, and ends firmly on the sam.
Two Tukras in Jhumra
Tukra 1
Code
Dha Dha - Din Ta | Tin Tin - Ta Ta | Dha Dha - Din Ta | Dha Dha - Din Ta
• This tukra flows across the cycle and lands strongly on the sam.
• It emphasizes repetition, giving clarity and strength.
Tukra 2
Code
Dha Ge Na Ti | Dha Dha - Din Ta | Tin Tin - Ta Ta | Dha Ge Na Ti Dha Dha
• This tukra uses variations like “Dha Ge Na Ti” to add flavor.
• It resolves neatly at the sam, showing rhythmic balance.
What is a Tihai?
• A tihai is a rhythmic phrase repeated three times, designed to end exactly on the
sam.
• It creates anticipation and resolution, making it one of the most exciting features in
tabla and classical music.
Two Tihais in Jhumra
Tihai 1
Phrase: Dha Dha Din Ta
Code
Dha Dha Din Ta | Dha Dha Din Ta | Dha Dha Din Ta
• Each phrase is repeated three times.
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• The final syllable lands perfectly on the sam.
Tihai 2
Phrase: Tin Tin Ta Ta Dha
Code
Tin Tin Ta Ta Dha | Tin Tin Ta Ta Dha | Tin Tin Ta Ta Dha
• This tihai uses a slightly longer phrase.
• The repetition builds tension, and the final “Dha” resolves beautifully on the sam.
Layakari (Tha, Dugun, Chaugun)
• Tha (basic speed): One bol per beat.
• Dugun (double speed): Two bols per beat.
• Chaugun (quadruple speed): Four bols per beat.
When tukras and tihais are played in different layakaris, they become more dynamic. For
example:
• In Tha, Tukra 1 is played simply as written.
• In Dugun, each bol is doubled: Dha Ge Dha Ge Din Na Ta Na…
• In Chaugun, each bol is quadrupled: Dha Ge Na Ti Dha Ge Na Ti Din Na Ka Ta Ta Na
Ka Ta…
This expansion shows the rhythmic richness of Jhumra.
Conclusion
Tala Jhumra, with its 14-beat cycle, is a grand rhythmic framework in Hindustani classical
music. By composing tukras and tihais in this tala, musicians showcase creativity, precision,
and mastery. The use of Tha, Dugun, and Chaugun layakaris adds further depth, making
performances vibrant and engaging.
SECTION-B
3. What is gat? Write any gat your syllabus.
Ans: What is “Gat” ()?
In Indian classical performing arts, the word “Gat” means a fixed composition or set
pattern of movements or notes that is performed in rhythm (Taal).
The meaning changes slightly depending on the subject:
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• In instrumental music (like sitar, sarod, violin):
Gat = a composed melody set to a rhythm cycle (Taal).
• In Kathak dance:
Gat = a stylized sequence of movements or story-based action performed in rhythm.
But in both cases, the idea is the same:
Gat is a composed piece that is practiced and performed repeatedly in a specific
rhythm.
Simple Definition (Exam-Ready)
Gat is a fixed rhythmic composition in Indian classical music or Kathak dance that is
performed in a particular Taal using set movements or musical notes.
Understanding Gat in an Easy Way
Think of Gat like this:
• In songs → there is a chorus that repeats
• In dance → there is a choreographed step sequence
• In instrumental music → there is a composed tune
That repeating structured part = Gat
So Gat is not improvised, it is pre-composed and practiced.
Types of Gat (Short Idea)
Students often learn these main types:
• Masitkhani Gat (slow tempo instrumental)
• Razakhani Gat (fast instrumental)
• Gat-nikas (Kathak expressive gat)
• Gat-bhav (storytelling gat)
Example of Gat from Syllabus (Kathak)
Here is one simple Gat often taught in beginner Kathak syllabus:
Murli Gat (Krishna Flute Gat)
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This Gat shows Lord Krishna playing the flute and walking gracefully.
Written Gat (Exam Format)
Taal: Teentaal (16 beats)
Laya: Madhya (medium tempo)
Bol / Movement Pattern:
–
–
–
–
Action Description:
• Dancer enters slowly
• Shows holding flute (Murli)
• Looks side to side gracefully
• Walks like Krishna
• Plays flute pose
• Ends in Krishna stance
Explanation of Murli Gat (Simple Language)
In this Gat, the dancer becomes Krishna.
The dancer imagines holding a flute and moving gently like Krishna walking in Vrindavan.
Steps are soft and circular.
Hand gestures show flute playing.
Eyes move lovingly to show divine charm.
This Gat is not just steps — it is expression + rhythm + character.
Why Gat is Important
Gat is very important in classical arts because:
• It teaches rhythm control
• It develops grace and balance
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• It connects movement with music
• It trains expression
• It preserves tradition
Students learn Gat first before advanced improvisation.
Gat in Instrumental Music (Short Note)
If your syllabus is instrumental music, then Gat means:
A composed melody played repeatedly in Taal.
Example (Teentaal Gat – Sitar style):
| | | ||
| | | ||
The artist plays this melody and then improvises around it.
Easy Comparison
Field
Gat Means
Kathak
Fixed dance sequence
Sitar/Sarod
Fixed melody
Tabla
Fixed composition
Music
Rhythmic theme
One-Line Memory Trick
“Gat = set composition in rhythm.”
Conclusion
Gat is a beautiful and essential part of Indian classical tradition. It is a structured rhythmic
composition performed in music or dance. In Kathak, Gat expresses character and
movement, while in instrumental music, it presents a composed melody. Students learn Gat
to understand rhythm, grace, and tradition. Murli Gat is a common syllabus Gat where the
dancer portrays Lord Krishna playing the flute with expressive gestures and rhythmic steps.
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4. Write two parans and two hai in dhamar taal.
Ans: Understanding Dhamar Taal
• Structure: Dhamar is a 14-beat cycle (matra), just like Jhumra, but it is distinct in its
usage and flavor.
• Division: The 14 beats are divided into 4 vibhags (sections):
o 1st vibhag: 5 beats
o 2nd vibhag: 2 beats
o 3rd vibhag: 5 beats
o 4th vibhag: 2 beats
• Sam (first beat): The most important beat, where compositions resolve.
• Khali (empty beat): On the 8th beat, marked by a wave instead of a clap.
Theka (basic pattern):
Code
Ka Dhi Ta Dhi Ta | Dha - | Ka Ta Dhi Ta Dhi Ta | Dha -
This is the rhythmic skeleton on which compositions like parans and tihais are built.
What is a Paran?
• A paran is a powerful composition in tabla, often using bols from the pakhawaj
tradition.
• It is longer and more elaborate than a tukra, usually played in Dhrupad and Dhamar
styles.
• Parans are energetic, filled with bols like Dha, Dhin, Ta, Kat, Gadi, and they end
firmly on the sam.
Two Parans in Dhamar Taal
Paran 1
Code
Dha Dha - Kat Ta | Gadi Gadi - Dha Dha | Kat Ta Dha Dha - | Dhin Ta Kat Ta Dha
• This paran flows across the 14 beats and lands strongly on the sam.
• It uses bols like Kat Ta and Gadi to add flavor.
Paran 2
Code
Dha Kat Ta Dha Kat | Gadi Dha Kat Ta Dha | Dhin Ta Kat Ta Dha | Dha Dha Kat Ta Dha
• This paran emphasizes repetition and symmetry.
• It resolves neatly at the sam, showing rhythmic balance.
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What is a Tihai?
• A tihai is a rhythmic phrase repeated three times, designed to end exactly on the
sam.
• It creates anticipation and resolution, making it one of the most exciting features in
tabla and classical music.
Two Tihais in Dhamar Taal
Tihai 1
Phrase: Dha Kat Ta Dha
Code
Dha Kat Ta Dha | Dha Kat Ta Dha | Dha Kat Ta Dha
• Each phrase is repeated three times.
• The final syllable lands perfectly on the sam.
Tihai 2
Phrase: Gadi Dha Kat Ta
Code
Gadi Dha Kat Ta | Gadi Dha Kat Ta | Gadi Dha Kat Ta
• This tihai uses a slightly longer phrase.
• The repetition builds tension, and the final “Ta” resolves beautifully on the sam.
Why Dhamar Taal is Special
1. Connection to Dhrupad Tradition: Dhamar is closely linked to Dhrupad singing, one
of the oldest forms of Hindustani classical music.
2. Majestic Rhythm: Its 14-beat cycle creates a grand, expansive feel.
3. Scope for Creativity: Parans and tihais in Dhamar allow tabla players to showcase
both power and precision.
4. Cultural Significance: Dhamar compositions are often sung during Holi celebrations,
adding festive energy.
Conclusion
Dhamar Taal, with its 14-beat cycle, is a majestic rhythmic framework in Hindustani classical
music. By composing parans and tihais in this tala, musicians showcase creativity, precision,
and mastery. The use of powerful bols and rhythmic repetition makes performances vibrant
and engaging.
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SECTION-C
5. Describe any One life sketch of the following:-
(a) Aban e Mistri
(b) Yogmaya Shukla.
Ans: (a) Aban E. Mistry – A Pioneer Woman in Tabla
Aban Erachshaw Mistry (1940–2021) holds a special and inspiring place in the history of
Indian classical music. She is remembered as one of the first professional female tabla
players in India, at a time when tabla was considered a strictly male domain. Her life story is
not just about music—it is about courage, dedication, and breaking social barriers.
Early Life and Family Background
Aban E. Mistry was born in Mumbai (then Bombay) into a cultured Parsi family. Her father,
Firoze Mistry, was a well-known violinist and music lover. Music was therefore part of her
environment from childhood. Instead of playing with toys, young Aban grew up surrounded
by instruments and musicians.
From an early age, she showed strong interest in rhythm and percussion. But in those days,
tabla playing was socially seen as unsuitable for women. Many people believed it was
physically demanding and associated with male performers. However, Aban’s parents were
progressive and encouraged her talent rather than restricting it.
This supportive environment allowed her to begin learning tabla at a young age.
Musical Training
Aban E. Mistry received rigorous training from some of the finest tabla maestros of the
time. She trained under:
• Ustad Amir Hussain Khan
• Pandit Samta Prasad
• Pandit Jnan Prakash Ghosh
These teachers belonged to different gharanas (styles), which gave her a rich and diverse
understanding of tabla. She mastered complex rhythms, compositions, and improvisations
with exceptional clarity.
Her dedication was extraordinary. She practiced for long hours daily, sometimes until her
hands hurt. But she believed that true mastery required discipline and patience.
Struggle as a Female Tabla Artist
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The biggest challenge in Aban’s life was not learning music—it was gaining acceptance.
During her early career:
• Concert organizers hesitated to invite a woman tabla player
• Audiences were surprised to see a woman playing tabla
• Some male musicians doubted her capability
But Aban never allowed these barriers to discourage her. Instead, she used her
performances to prove that music has no gender.
Slowly, through consistent excellence, she earned respect in the male-dominated field of
percussion.
Career and Achievements
Aban E. Mistry performed widely across India and internationally. She accompanied many
famous Hindustani classical musicians in concerts and recordings. Her playing was known
for:
• Perfect rhythm control
• Clarity of bols (tabla syllables)
• Graceful presentation
• Strong yet sensitive accompaniment
She also worked in All India Radio and contributed to music education.
Apart from performing, she was deeply committed to teaching. She trained many students,
both men and women, and encouraged female participation in percussion music. Because of
her, many young women began learning tabla without hesitation.
Contribution to Indian Music
Aban E. Mistry’s importance lies not only in her musical skill but also in her social impact.
She:
• Broke gender stereotypes in classical music
• Opened doors for women percussionists
• Preserved traditional tabla compositions
• Promoted rhythm studies among students
Today, female tabla artists in India owe much to her pioneering efforts.
Personality and Legacy
Aban was known as humble, disciplined, and deeply devoted to music. Despite fame, she
lived simply and believed that music was a lifelong spiritual journey.
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She passed away in 2021, but her legacy continues through:
• Her students
• Her recordings
• Her role as a role model for women musicians
In Indian music history, Aban E. Mistry will always be remembered as “the woman who
gave tabla a new identity.”
(b) Yogmaya Shukla – A Dedicated Classical Vocalist
Yogmaya Shukla was a respected Hindustani classical vocalist, known especially for her
mastery in khayal singing. She belonged to the Gwalior gharana, one of the oldest and most
traditional schools of Hindustani classical music. Her life represents devotion to tradition,
disciplined training, and preservation of classical heritage.
Early Life and Musical Environment
Yogmaya Shukla was born in the early 20th century into a culturally rich North Indian family
where music was valued. From childhood, she showed a melodious voice and natural
musical sense. Her parents recognized her talent and encouraged formal training.
At a time when classical music training for girls was still limited, Yogmaya was fortunate to
receive proper guidance. Her family believed that classical music was a respectable art and
supported her education in it.
Training in Gwalior Gharana
Yogmaya Shukla received training from eminent gurus of the Gwalior gharana, the oldest
khayal tradition. This gharana emphasizes:
• Clear pronunciation of notes
• Balanced rhythm and melody
• Structured presentation
• Traditional bandishes (compositions)
Her training was strict and traditional. She practiced daily for many hours, repeating the
same raga phrases until perfection. Her gurus insisted on discipline, patience, and purity of
style.
Because of this training, Yogmaya developed:
• Strong voice control
• Accurate raga expression
• Classical authenticity
• Emotional depth
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Musical Career
Yogmaya Shukla performed in classical concerts, music conferences, and radio broadcasts.
She became known for her dignified and traditional presentation of ragas.
Her singing style was characterized by:
• Stability of pitch
• Clear raga structure
• Graceful ornamentation
• Devotional mood
She specialized in khayal, but also sang thumri and devotional music. Audiences
appreciated her calm and serious musical expression rather than dramatic showmanship.
She was associated with All India Radio, which helped spread her music to wider audiences
across India.
Role as Teacher
One of Yogmaya Shukla’s greatest contributions was teaching. She trained many students in
classical vocal music, passing on the Gwalior tradition carefully and faithfully.
She believed that classical music should not be diluted. Therefore, she taught:
• Correct raga grammar
• Traditional compositions
• Proper voice training
• Respect for guru-shishya parampara
Her students remember her as strict but caring, always insisting on sincerity in music.
Contribution to Classical Music
Yogmaya Shukla’s importance lies in preservation rather than innovation. She:
• Maintained purity of Gwalior style
• Promoted classical vocal training for women
• Preserved traditional bandishes
• Encouraged disciplined music education
In a period when light music and film music were becoming popular, she remained devoted
to classical traditions. Because of artists like her, Hindustani classical music retained its
authenticity.
Personality and Legacy
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Yogmaya Shukla was known for her modesty, devotion, and seriousness toward music. She
avoided publicity and believed music was a sacred art rather than entertainment.
Her legacy continues through:
• Her disciples
• Radio recordings
• Gwalior gharana tradition
6. Write any One of the following:-
(a) One kayda with four paltas and one hai in mat tal.
(b) One farmaishi paran and rella in mat tal.
Ans: What is Mat Taal?
Mat Taal is a 9-beat (9 matra) rhythmic cycle in Indian classical music.
Its common division is:
4 + 2 + 3
Theka (basic pattern) of Mat Taal is often written as:
Dha Dhin | Dhin Dha | Tin Na | Dhin Dha
(There are different gharana variations; any correct one is acceptable in exams.)
OPTION (a): Kayda with Four Paltas and One Tihai in Mat Taal
What is Kayda?
Kayda means rule-based composition.
It has a fixed theme (mukh) made of bols, and then variations (paltas) are created using the
same bols in different order.
So in exams you write:
1. Kayda (main theme)
2. 4 Paltas (variations)
3. Tihai (ending phrase repeated 3 times)
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Answer (Option A)
Kayda in Mat Taal
Dha Ti Ta | Kata Dha Ti | Ta Kata Gadi | Gena
(Repeat in same taal cycle)
Four Paltas
Palta 1
Ti Ta Kata | Dha Ti Ta | Kata Gadi | Gena Dha
Palta 2
Kata Gadi | Gena Dha | Ti Ta Kata | Dha Ti Ta
Palta 3
Dha Gadi Gena | Ti Ta Kata | Dha Ti Ta | Kata
Palta 4
Ti Ta Dha Ti | Kata Gadi | Gena Dha | Ti Ta Kata
Tihai
Dha Ti Ta Kata Gadi Gena Dha
Dha Ti Ta Kata Gadi Gena Dha
Dha Ti Ta Kata Gadi Gena Dha
(Sam)
OPTION (b): Farmaishi Paran and Rela in Mat Taal
Now let’s understand these two terms.
What is Farmaishi Paran?
Paran is a powerful composition using bols like Dha, Ta, Kita, Taka, Gadi, Gena.
It comes from pakhawaj tradition.
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Farmaishi means “requested” — a special paran played on request, often dramatic and
impressive.
What is Rela?
Rela means flowing, fast composition.
It sounds like continuous running bols:
Tirakita Tirakita Dha
It is played in drut laya (fast tempo).
SECTION-D
7. What is the most popular percussion instrument used in gurmat sangeet?
Ans: What is Gurmat Sangeet?
Gurmat Sangeet is the sacred musical tradition of Sikhism. It refers to the singing of Gurbani
(hymns of the Sikh Gurus) in classical Indian musical forms and prescribed ragas. The Sikh
Gurus themselves composed their hymns in specific ragas, and music was considered
essential for spiritual expression.
From the time of the Gurus, kirtan (devotional singing) was accompanied by traditional
instruments such as Rabab, Taus, Saranda, Dilruba, and the percussion instrument Jori.
Among these, the Jori became the most widely used rhythm instrument in Gurmat Sangeet.
The Most Popular Percussion Instrument: Jori
The Jori is a pair of hand-played drums similar in appearance to the Tabla, but with
important differences in structure, sound, and historical significance.
Simple Definition
The Jori is a pair of drums (left and right) played with the hands to provide rhythm in Sikh
devotional music.
Historical Roots of the Jori in Sikh Tradition
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The Jori is deeply connected with the early Sikh Gurus and the original tradition of kirtan.
• During the time of Guru Nanak Dev Ji, kirtan was performed with the Rabab by Bhai
Mardana.
• Later Gurus expanded the musical tradition with more instruments.
• By the time of Guru Arjan Dev Ji and Guru Hargobind Sahib Ji, the Jori became the
primary percussion instrument for kirtan.
• It was used in Darbar Sahib (Golden Temple) kirtan historically.
Thus, the Jori is not just an instrument — it is part of the original Sikh musical heritage.
Why the Jori Became the Most Popular in Gurmat Sangeet
There are several reasons why the Jori became the most widely used percussion instrument
in Gurmat Sangeet:
It Matches the Spiritual Mood
The Jori produces a deep, mellow, meditative sound rather than a sharp or flashy rhythm.
Gurmat Sangeet aims at devotion and contemplation, so this gentle rhythm suits the sacred
atmosphere of kirtan.
Designed for Gurbani Singing
The rhythm patterns (taals) used in Gurbani are often slow, dignified, and flowing. The Jori
naturally supports:
• Slow tempo (vilambit)
• Medium devotional rhythm
• Raga-based singing
So it blends beautifully with shabad kirtan.
Traditional Authenticity
Because it was used in the Guru period, Sikh musicians consider the Jori the authentic
percussion instrument of Gurmat Sangeet. Many traditional kirtaniyas prefer it to preserve
originality.
Unique Tone Compared to Tabla
Although similar to Tabla, the Jori differs in tone:
• Less metallic
• More earthy and resonant
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• Softer attack
• Broader bass sound
This gives Gurbani kirtan a more ancient, classical feeling.
Structure of the Jori (Simple Explanation)
Like the Tabla, the Jori has two drums:
Right Drum (Dayan)
• Made of wood
• Produces higher-pitched sounds
• Used for rhythmic patterns
Left Drum (Bayan)
• Made of clay or metal
• Larger in size
• Produces deep bass tones
But unlike Tabla:
• The Jori skin is thicker
• The black tuning paste (syahi) is different
• The sound is softer and deeper
Difference Between Jori and Tabla
Students often confuse Jori with Tabla. Here is an easy comparison:
Feature
Jori
Tabla
Sound
Deep, mellow
Bright, sharp
Use
Gurmat Sangeet
Classical & modern music
History
Sikh devotional
Later classical evolution
Tone
Meditative
Expressive & dynamic
Traditional status
Original Sikh
Non-original
Today many kirtan performers use Tabla because it is more common and easier to learn. But
in authentic Gurmat Sangeet, the Jori remains the primary percussion instrument.
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Role of Jori in Gurmat Kirtan Performance
In kirtan, the Jori player does more than keep time. He:
• Supports the raga flow
• Maintains taal cycle
• Enhances emotional expression
• Follows the singer’s phrasing
• Creates spiritual atmosphere
A skilled Jori player listens deeply to Gurbani singing and responds gently, never
overpowering the voice.
Spiritual Significance of the Jori
In Sikh thought, music is not entertainment — it is a path to divine remembrance. The Jori
contributes by:
• Creating rhythmic stability
• Supporting collective singing
• Inducing meditative focus
• Guiding congregation participation
Thus, the Jori helps transform music into devotion.
Revival of the Jori Today
For some time, Tabla replaced Jori in many gurdwaras due to modernization. But in recent
decades:
• Traditional Gurmat Sangeet academies
• Sikh scholars
• Kirtan revival movements
have brought the Jori back into practice.
Today, in traditional kirtan samagams and historical instrument kirtan, the Jori is again
widely respected as the authentic percussion instrument.
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8. What is sound technique of tabla? Explain it in your own views.
Ans: What Do We Mean by “Sound Technique”?
When we say “sound technique” in tabla, we are talking about:
• Clarity of bols (syllables): Each stroke should be disnct, whether it’s Dha, Dhin, Na,
Tin, Ta, or Ge.
• Balance of tone: The dayan (right drum) produces treble sounds, while the bayan
(le drum) produces bass. A good player balances both.
• Control of resonance: Some strokes are meant to ring (like Na), while others are
meant to be closed or muted (like Ta).
• Consistency: The same bol should sound the same every me, no maer the speed
or tempo.
Elements of Good Sound Technique
1. Hand Posion
• The ngers must strike the drum at the correct angle.
• For example, Na is played with the index nger on the dayan’s edge, while Tin is
played with the middle nger in the center.
• The bayan requires exible wrist movement to produce deep bass sounds like Ge.
2. Pressure and Release
• The bayan’s sound changes depending on how much pressure is applied with the
palm.
• By pressing and releasing, the player can create sliding bass eects, adding richness
to the rhythm.
3. Clarity of Bols
• Each bol is like a word in a language. If it is unclear, the rhythm loses meaning.
• A tabla player must pracce slowly to ensure every bol is crisp before increasing
speed.
4. Balance Between Dayan and Bayan
• The dayan provides sharp, high-pitched sounds.
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• The bayan provides deep, resonant bass.
• Together, they create a dialogue. Good sound technique ensures neither dominates
unnecessarily.
5. Posture and Relaxaon
• The player’s sing posture aects sound. A relaxed body allows uid hand
movement.
• Tension in the hands or shoulders can make strokes harsh or uneven.
Examples of Sound Technique in Pracce
• Dha: Combinaon of Na (dayan) and Ge (bayan). Both must be struck simultaneously
and clearly.
• Tin: Played on the dayan’s center with the middle nger, producing a ringing sound.
• Ta: A muted stroke on the dayan, requiring control to avoid unwanted resonance.
• Ge: A bass stroke on the bayan, created by sliding the palm for depth.
Each of these strokes requires precision. A beginner may produce sound, but only with
pracce does the sound become musical.
Why Sound Technique Maers
1. Musicality: Tabla is not just rhythm—it is music. Without good sound, even complex
composions lose their charm.
2. Communicaon: In Indian classical music, tabla interacts with singers and
instrumentalists. Clear sound ensures proper dialogue.
3. Aesthecs: Audiences appreciate not only rhythm but also the beauty of tone.
4. Foundaon for Complexity: Advanced composions like kaydas, parans, and hais
depend on strong basic sound.
My Own View
In my perspecve, the sound technique of tabla is like speaking a language clearly. Imagine
someone recing poetry—if their pronunciaon is unclear, the beauty of the poem is lost.
Similarly, in tabla, if the bols are not crisp, the rhythm feels incomplete.
I believe sound technique is not just about mechanics; it is about respecng the instrument.
When a player strikes the tabla with care, paence, and devoon, the instrument responds
with warmth and clarity. This is why great maestros oen say that tabla is not just played—it
is conversed with.
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Conclusion
The sound technique of tabla is the foundaon of all rhythm and music produced on the
instrument. It involves clarity of bols, balance between dayan and bayan, control of
resonance, and disciplined pracce. In my view, it is the soul of tabla playing—without it,
even the most complex composions lose their meaning.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
