TABLA is the main rhythmic instrument of North Indian classical music. Its music involves skillfully composed rhythmic patterns, intriguing compositions and complex beat structures. The tabla is comprised of two drums, one played by each hand. Each drum consists of a hollow interior covered with a leather surface. The larger of the two on which low, bass tones are produced, is the baya. The smaller drum is the daya, on which numerous tones can be produced at a fast pace with the fingertips. The beauty and essence of tabla-playing lies in the harmonious balance between the daya and baya.
It is believed that the tabla was adopted by the eminent musicologist of his time, Amir Khusro, to especially accompany the soft and romantic singing style of India known as khayal gayaki. Today however, the tabla is a highly versatile percussion instrument, which is played solo or in the accompaniment with just about any musical instrument in the world.
Everything that can be played on the tabla can also be spoken. Because of this, the study of tabla is very much like the study of a language. All of the many individual notes have a name, such as Ta, Tin, Ge, Tita, etc. These notes are the “letters” of this special language. Just as words are put into sentences in a organized way, tabla notes fit together in a specific way to make a musical [Poem; one with beauty, grammar and expression.
A very special aspect of Indian classical music is the method in which it is taught. Once an individual is accepted as a student, he or she is expected to dedicate themselves to the art and to serve and honor the teacher. Because learning music is a lifelong journey, the relationship between teacher and student is also a lifelong one. The term given to this traditional apprenticeship-style of training is guru-shishya-parampara. (The meaning of guru is teacher; the meaning of shishya is disciple; and the meaning of parampara is tradition.) Many stories have been told of the strong bond between great master gurus and their devoted shishyas.
Tabla music is based upon repeating rhythmic cycles, known as taal. Each taal is made up of a specific number of beats, and is also given a name. For example: tintaal is made up of 16 beats, jhaptaal is made up of 10 beats, ektaal is made up of 12 beats, and so on. There exists many taals in the tabla repertoire. The compositions that a tabla artist plays are always set to a specific taal. The taal is the constant underlying foundation upon which the music is based.
Tabla is used as both an accompanying instrument and also as a solo instrument. As a accompanying instrument, tabla can be heard keeping the beat for many genres of music: classical instrumental, vocal music, religious melodies, meditative hymns, world fusion, and even modern pop music. On the other hand, in a solo presentation, the tabla player is the principle musician. He presents the audience with traditional, classical compositions which he has learned from his guru. A tabla solo concert can last anywhere from about 15 minutes to several hours! A few of the common compositions that a soloist may play are: kayda, tihai, rela, tukada and gat. The arrangement, phrasing and musical attributes are very specific to each type of composition. The kayda is one of the main compositions of tabla. A student of tabla will spend a majority of his training learning kaydas, and thousands exist in the tabla repertoire.
Riyaz, or practice, is an integral part of a tabla player's life. The tabla student spends most of his day in concentrated and prolonged practice. Because of the vast number of hours that a tabla player must spend practicing, he must truly find joy and fulfillment in his daily practice in order for his art to flourish and for him to reach future success. The Indian classical musician treats his practice as a time of personal reflection and meditation. With eyes closed and mind free, with healthy body and healthy spirit, he delves into his practice deeply with involvement. The classical artist has been known to sacrifice common pleasures in order to become a recluse, only committed to his practice, his art, and his guru.
The tabla is primarily a male-dominated instrument. This is due to the fact that the tabla is associated with a certain degree of strength and aggression. And historically, the art was generally passed on to male members of the family. Today however, there is an increasing number of female aspirants across the globe and, in fact, there are several skilled professional female tabla players who are breaking the barriers.
Numerous legendary maestros have contributed significantly to the development and advancement of tabla. These individuals are highly revered and honored by Indian classical musicians and musicologists. A few notable names to remember are: Latif Ahmed Khan, Allah Rakha, Habibuddin Khan and Ahmed Jan Thirakwa. Several of today’s contemporary tabla players who are making a mark on the world with their music and knowledge are: Zakir Hussain, Anindo Chatterjee, Swapan Chaudhuri, and one of the great gurus and composers of our time, Divyang Vakil.
