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Indian Cultural Centre

Indian Cultural Centre

icc@sltnet.lk

Sunday, December 19, 2010

Tabla Tuning (dayan)

Posted by CHANUKA at 6:25 PM

Tabla Tuning Lesson

Posted by CHANUKA at 6:25 PM

Tuesday, September 14, 2010

chanuka samarasekara weerasoori

Posted by CHANUKA at 10:27 PM

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WELLCOME

2010 November

133 Baudhaloka Mawatha

colombo 4

Tel ;011200014

Fax;2598674

E-mail;Icc@sltnet.lk

Course: TBL

नमस्ते (NAMASTY)

THE INDIAN CULTURAL CENTRE

133 Baudhaloka Mawatha
colombo 4
Tel ;011200014
Fax;2598674
E-mail;Icc@sltnet.lk
Course: TBL

ORIGIN AND HISTORY OF TABLA

ORIGIN AND HISTORY OF TABLA

The percussion instruments came into practice earlier than any other musical instrument and hence this instrument remained as the basic percussion instrument. In folk songs and folk dances Dhol, Dapha and Mridanga were used as the percussion instruments. With the passage of time when the classical songs became popular in Courts and Darbars, in these times too, the Mridanga and Pakhawaj were played with Dhrupad and Dhamar Gayans.

In 13th Century AD, Amir Khusro, the Chief Councillor of Allauddin Khilzi invented Tabla, the new musical instrument by dividing Pakhawaj into two equal halves. This new instrument was played by placing it in front but unfortunately it could not get any position in Royal families of those days. It limited itself up to the Kawals, Gazal Gayaks and the dancers with them. They often performed their programmes before the soldiers etc. Tabla was the main instrument of their performances.

Now-a-days the Tabla has attained the appreciable position in standard musical societies. But in classical dances, Mridanga is still used.

After the invention of the Tabla instrument, it was made popular by Ustad Uddar Khan. He did not produce any new bols but drew them out of the bols of Mridanga according to old rules of Talas.

"Notwithstanding disputes regarding the origin of tabla, there is no controversy regarding Sidhar Khan (or Sudhar Khan) of Dheli as the first exponent of tabla playing. A contemporary of Sadarang, he lived in the 18th century. Sidhar Khan is also believed by some to have invented the tabla. In any case, it is known that he established the first style of tabla playing, know as the Dheli style, from which all others, except that of Punjab, originate." Aloke Dutta: Tabla lessons and practice, 1995

About the origin of the Tabla many a guess and conjecture, fable and legend fills the air. Indian experts say that the Tabla has been derived from Pakhawaj because the former looks like two parts of a Mridanga cut apart. Many Muslim hereditary Tabla players, on the other hand, are never tired of repeating that the Tabla originated in their families. But history has a difference story altogether. Since long before the Muslims rechristened the Mridanga, a Pakhawaj and indeed, long before the birth of Islam, the Tabla occupied a prominent place among the musical instruments of Arabia. In pagan Arabia, it was a popular instrument but was somewhat different in structure. In ancient Arabia, the Duff was the most popular among all leather covered percussion instruments. The Duff is an instrument of the tambourine class. It is said that one Tubal, son of the musician Tubal of Arabia, was the inventor of both, Duff and the Tabla.

The word tabl came to be used as a prefix to other drum instruments. It seems that the Muslims must have brought with them their favourite tabl. But in India they found the percussion instruments varied and well developed. So they improved their own tabl on the lines of Indian, varieties, and laid the basis for a new type of instrument to which they added a smaller variety of the Duff, which because of its similarity with tabl, was known as Tabla and the latter banyan.

Some say. Amir Khusro made great contribution by introducing the Tabla in India, but as we saw, though in bigger size it was already used in Arabia. It is quite likely that Amir Khusro, in his introductions of Ragas of foreign lands to India, also introduced Tabla here in a from and shape which we see today.

The percussion instruments came into practice earlier than any other musical instrument and hence this instrument remained as the basic percussion instrument. In folk songs and folk dances Dhol, Dapha and Mridanga were used as the percussion instruments. With the passage of time when the classical songs became popular in Courts and Darbars, in these times too, the Mridanga and Pakhawaj were played with Dhrupad and Dhamar Gayans.

The oldest instruments...

All over the world, archeologists list simple idiophones as the first prehistoric musical instruments. This includes rattles, scrapers, and bone flutes (without holes). The neolithic strata contains slit drums, flutes (with holes), shell trumpets, and musical bows. The paleolithic strata yields basket rattles, xylophones, flutes, friction sticks. These early instruments, at least the instruments which survived, often resemble tools that early society utilized. In India, the doddu rajan, found among the Savaras, resembles a fire producing implement (a tool to create heat by friction). This type of scraper, also found as the kokara among the Palayans of Kerala perhaps became the Palayans' scraper, and used in the music of exorcism. Earthen pots, used for cooking and storing grain, served as percussion instruments. Examples are the noot, rouf (Kashmir), matki (Rajastan), gugri, gagra (north India), ghatam (south India). Since many of these instruments, built out of perishable materials, did not leave evidence for us to trace their history, we rely on sculptures, paintings, and manuscripts which depict or describe them. The seals of the Mohenjodaro

The seals of the Mohenjodaro Indus valley civilization contain depictions of men playing long cylindrical drums hung around their necks played horizontally. These drums are most similar to the kharrang of Assam and with the dhole of the Reddis of Andra Pradesh. Other drums inscribed on the seals include an hour glass shaped drum like the hudukka, castanets and cymbals. Some arched harps found in their hieroglyphics and unearthed clay whistles demonstrate they developed a tonal system, but no literature exists which we can translate in order to learn about that system.

The North Indian Tabla

The tabla is a North Indian drum set comprised of two drums with goat-skin heads. The bayan is the larger and lower in pitch of the two drums that comprise the tabla set. Its pitch is variable. The tabla is the smaller and higher in pitch of the two drums that comprise the tabla set.

The Tabla Drum
The higher in pitch of the two drums that comprise the tabla set has both open and closed sounds. The most completely open sound of the tabla is a minor or major seventh below the tonic that the drum is tuned to.
Suggested substitutes: sampled string harmonics mixed with sampled conga or bongo.

MIDI Maps
Tabla MIDI map (all channel 10):
Tabla Bols
D#3 = open sound, 7th below tonic di, din, ti, tun
D3 = slightly dampened sound, tonic di
C#3 = half dampened sound, tonic na, ta (long a)= dampened sound ne, te, tet, ti, re, ri
C3/D3 = half dampened sound, tonic tin
C3/C#3 = dampened sound ta (short a)
C#3,C3,D3,C3 = flam of four dampened terikita (te,ri,ki,ta flam0

Bayan MIDI map (all channel 10):
Bayan Bols
E3 = open bayan ga, ge, gen
D3 = closed bayan ka, kat, ke, ki
Tabla/Bayan MIDI map (all channel 10):
Tabla Bayan Bols
C3 = dampened E3 = open de (re + ge), dhe (te + ge)
C#3 = half dampened E3 = open dha (na + ge)
C3/D3 = half dampened E3 = open dhi, dhin (tin + ge)
D#3 = open E3 = open dhi (tun + ge)
C3 = dampened D3 = closed ka, kat, kre (ka,te flam), tre (re + ka)

Vedic literature

Our first documentation of music occurs in the Vedic scriptures, of the Aryan culture. The most ancient Vedic literature describes drums covered with the skins of wild animals, large earthen drums, and the role of the drums in various rituals. The bhumi-dundubhi, a giant earth drum, consisting of a hallow pit covered with skin, struck by legs of wood, signaled danger or approaching enemies with its thunderous and deep resonating pitch. Vedic singers used the dundhubi, a drum formed out of hallow tree trunks with the upper part covered with skin.

Literature from the Nardiyasiksa and the Natyasastra.

A great deal of our musical knowledge of India stems from the Nardiyasiksa (written approximately around 100 B.C.E.) and Bharata's Natyasastra, a later work during that period which offers a scientific approach (also called: the Natyaveda, panchamaveda, gamdarvaveda, or the "fifth" veda).

Naradiysiksa, describes vedic and ghandharva music. It states that semi-divine ghandharva music is composed of three elements: svara, tala, and pada. Narad describes the essentials of vocal and instrumental music. In the 31st and 32nd chapters, the Natyasastra gives descriptions of tala, the fundamental aspects of India rhythm. According to Bharata, tala was known as 'ghana' and time as 'kala'. Laya, called kalapata, subdivided into vilamvita (slow), madhya (medium), and druta (fast). Kala divided into three parts, citra (two matras), vartika (four mantras), and daksima (eight mantras). Bharata stated that tala, or time unit, was known as the measurement of kala, ('kala kala pramanena tala ityabhdhiyate' 31.7). Two kinds of talas existed, n'sabda (soundless or beatless), and sa'sabda (with sound or beat). The soundless tala again subdivided into 4 kinds: samya, tala, dhruva, and sannipata. Other terminology regarding rhythm included: yati (a method of applying a tempo of a tala -- of which they had several kinds: sama, srotogata, gopuccha, damaru, pipilika), prakarana (to make a song ready for singing), satala (with any rhythm), atala (without rhythm). With such terminology they clearly developed a complicated rhythmic system. This originated before the classical music age (600 to 500 B.C.E.), as ghandharva music became obsolete before the Bharata period. Ghandharva music provides the link between vedic music and post-vedic marga type of music (which evolved around 700 B.C.E., and provides insight to the classical period as well.

Dhwani Shah

Dhwani Shah

Dhwani Shah

Dhwani Shah is a tabla player of immense talent with years of training from traditional tabla masters, and is currently extending his performing and teaching experience with an emphasis on Indian classical music.

Dhwani’s initial exposure to tabla came at a very young age. His mother, being the major influence, was very active in the Chicago area in organizing concerts and music events. She recognized Dhwani's talent from his early age, therefore, Dhwani started taking trips to India to learn tabla in the traditional Guru-Shishya tradition when he was only 11 years of age.

Dhwani's foundation with regular training in tabla was established under Mr. Kalyan Pathak from 1992-1999 during which Dhwani was also introduced to other percussion instruments such as the Western drumset, and he had the opportunity to learn many different genres of Indian and Western music, as Mr. Pathak is a world-renowned multi ethnic percussionist. Dhwani was recipient of Illinois Arts Council Master Artists Apprenticeship scholarship for two consecutive years under Mr. Pathak's apprenticeship where he learnt the finer nuances of tabla schools of Delhi and Ajrada.

Since 2002, Dhwani has been under the tutelage of Mr. Anil Datar and focusing on the traditional art of tabla. Under Mr. Datar, Dhwani is being groomed in the Farukhabad Gharana. The primary focus of his current learning is based on tone production, sound control, and the Farukhabad solo repertoire.

As a faculty member of Mr. Datar's Aditi School of Music, Hoffman Estates, Dhwani has been teaching tabla classes regularly in the Chicago metropolitan area. The mission of the school is to give traditional tabla training with a modern, academic approach and to create awareness for the instrument. With a strong understanding of his teacher’s style and philosophy of sound quality and fingering techniques, Dhwani has guided students in the traditional compositions and rhythmic patterns. He has successfully implemented classroom management to ensure the quality of learning.

Dhwani has been involved in performing with Indian and Western Artists in vocal, instrument, and dance. He also has extensive experience accompanying Kathak dance and is a visiting artist for various dance studios. Dhwani has been a regular accompanist for several music teachers and their students in the Chicago area. As a student and performer of tabla, Dhwani is also a 4-time recipient of the Illinois Arts Council’s Ethnic Folk Arts Grant, which has enabled him to visit India for advance learning.

Dhwani has been active in organizing concerts and workshops for Indian Classical musicians. For Aditi School of Music, Dhwani has played a vital role in organizing concerts and workshops for legendary tabla artists as Pandit Anindo Chatterjee and Shri Yogesh Samsi.

-Chanuka-

Programming natural sounding Tabla

This tutorial looks at programming reasonably natural sounding Tabla parts using single hit samples triggered by your sequencer. The sets of samples can be on an out board sampler or within on a software sampler. I am using the Native Instruments 'Battery' sampler for this tutorial. All the grooves in the demo below, including the glissando on the bass Tabla are created with with single shot samples. No loops are used at all. I recorded the hits in a top London studio, including bass tones at various pitches so we can create the glissando effect by programming. All the screen shots are clickable so you can enlarge them to see what's going on

Tuning

Tuning the tabla is a highly complex matter. The tuning method is directly linked to the size of the tabla puri or head of the tabla. In general the wider the diameter of the puri the lower the standard pitch of the tabla and vice versa. To take an average, a tabla with a diameter of around 5 inches will most normally have a standard pitch of c. This tabla could then be fine-tuned to c# or lowered to b. However, tabla do not always sound good a tone or semi-tone higher or lower than their standard pitch.

Finally, in hot conditions it is important for one to keep the tabla in a pitch lower than its standard as the puri itself expands in hotter conditions. The puri on a tabla should never be tuned too far differently on one side as compared to the opposite side. This may cause the puri itself to rip apart.

A typical tabla tuning hammer

The basic principle of tuning is to hammer the gittack or wooden cylindrical blocks down for an increase in pitch and loosen the gittack for lower pitch. Fine tuning is achieved by hammering on an area called gajara. It is an area which tightens or loosens the puri by micro-tones. Where exactly to place each gittack – in other words how many leather straps (baddhi) should fit around a single gittack - depends upon the desired pitch. Normally 2 or 3 straps are pulled around each gittack. The more straps that are pulled the higher will be the standard pitch. The recommendation of an experienced tabla player or maker would be required to assess how many straps should cover a single gittack for the tabla sound to be considered ideal.

A typical tabla tuning hammer

The basic principle of tuning is to hammer the gittack or wooden cylindrical blocks down for an increase in pitch and loosen the gittack for lower pitch. Fine tuning is achieved by hammering on an area called gajara. It is an area which tightens or loosens the puri by micro-tones. Where exactly to place each gittack – in other words how many leather straps (baddhi) should fit around a single gittack - depends upon the desired pitch. Normally 2 or 3 straps are pulled around each gittack. The more straps that are pulled the higher will be the standard pitch. The recommendation of an experienced tabla player or maker would be required to assess how many straps should cover a single gittack for the tabla sound to be considered ideal.

Allarakha Khan

Birth name Allarakha Khan Qureshi
Born 29 April 1919(1919-04-29)
Paghwal Now District Samba Division, Jammu, India
Origin Dogra Indian
Died 3 February 2000(2000-02-03) (aged 80)
Mumbai, Maharashtra, India
Genres Hindustani classical music
Instruments tabla
Associated acts Ravi Shankar, Zakir Hussain, Aditya Kalyanpur

Alla Rakha

Alla Rakha Qureshi was a farmer's son, born on April 29, 1919 and grew up in Phagwal village of Jammu, 80 kms from Lahore. His first tabla teacher, Lal Mohamed, was a disciple of Mian Qader Bakshi, a leading musician in the Punjab gharana. When he was 12 he ran away from home to study with Mr. Bakshi in Lahore, in what is now Pakistan.

He began performing on Lahore Radio, and in 1936 he moved to Delhi to work for All India Radio, and then to Bombay. During the 1930's he studied raga singing with Ustad Ashiq Ali Khan of the Patiala gharana.

In 1943 he began working in the Bombay film industry as a music director for Rangmahal Studios, and he provided music for two dozen films in Hindi and Punjabi.

He performed with Ravi Shankar, who also worked for All India Radio, in the 1940's, and their partnership carried Hindustani classical music beyond India's borders. He also bridged the gap between Carnatic music and Hindustani music by performing with both reknowned Carnatic musicians as well as Hindustani.

For years he had devoted much of his time to teaching and he ran a music school, the Alla Rakha Institute of Music, in Bombay. Along with his three sons Zakir Hussain, Fazal Qureshi and Taufiq Qureshi he estimated that he had hundreds of students all over the world.

Tabla Bols

Taa
Naa
Tin
Ti
Ta
Tu
Ne
Da
Thun
Di
Din
Tira
Tr
Tat
Dagga Bols
Ga, Gaa, Gi, Ge, Ghe, Gha, Ghe
Ka, Kaa, Ki, Ke
Kat
Combination Bols
Dhaa
Dhin
Dhu
Dhi
Dha
Kin

GE; Bass drum, resonant stroke, played with the finger tips. The wrist bends the pitch of the drum.

KE; Bass drum closed stroke, played with the whole hand flat

TE; Treble drum closed sound with flat fingers. Staccatto

NA; Treble drum, edge rim sound with index finger; second finger raised, third and fourth fingers damping. Characteristic ringing tone of Tabla. (there is also the closed na stroke played by leaving the finger on the skin after striking, creating a sharp ‘chick’ sound.)

TIN; Treble drum, inner rim sound with index finger; second finger raised, third and fourth fingers damping. Similar to na but with slightly more bass qualities.

THUN; Open resonant sound on treble drum

TI; Second finger on treble drum, third and fourth fingers down, index finger raised. Soft version of TE.

NE; Ring finger on edge of treble drum. Soft sound almost like a grace note.

BOLS INVOLVING TWO SIMULTANEOUS STROKES.
DHA (= GE + NA) DHIN (= GE + TIN) DHE (= GE + TE)

There are many other stroke combinations and sounds on Tabla but these are the basic set to get started with.

BASIC OVERVIEW OF THE TABLA

Indian music has fascinated the West for many years. The tabla in particular has attracted the attention of a number of American and European percussionists. It has been used in popular music as early as the 60's and is heard in the popular media even today. However, many percussionists shy away from this instrument. The reasons for not "getting into it" are varied. Sometimes it is the lack of instruments; sometimes lack of teachers; sometimes it is the belief that tabla is just too difficult. These are legitimate concerns but they are not insurmountable obstacles. This article will address the concerns of a musician just wishing to get started in tabla. We will discuss the theory of Indian music, how to purchase tabla, the basic technique, and compositional theory. All of this information should make the job of getting started much easier. We should first familiarize ourselves with the extensive theory of Indian music. Indian music is one of the oldest musical traditions in the world. It has its roots in theVedic chants of the first few millennia BC. Although the mechanics of the music have undergone tremendous changes in the last few thousand years, the essential characteristics of awe, respect and devotion have remained unchanged.

-Ganesh-Tabla-Large-Black-Marble

-Ganesh-Tabla-Large-Black-Marble

BASIC OVERVIEW OF THE TABLA

Indian music has fascinated the West for many years. The tabla in particular has attracted the attention of a number of American and European percussionists. It has been used in popular music as early as the 60's and is heard in the popular media even today. However, many percussionists shy away from this instrument. The reasons for not "getting into it" are varied. Sometimes it is the lack of instruments; sometimes lack of teachers; sometimes it is the belief that tabla is just too difficult. These are legitimate concerns but they are not insurmountable obstacles. This article will address the concerns of a musician just wishing to get started in tabla. We will discuss the theory of Indian music, how to purchase tabla, the basic technique, and compositional theory. All of this information should make the job of getting started much easier. We should first familiarize ourselves with the extensive theory of Indian music. Indian music is one of the oldest musical traditions in the world. It has its roots in theVedic chants of the first few millennia BC. Although the mechanics of the music have undergone tremendous changes in the last few thousand years, the essential characteristics of awe, respect and devotion have remained unchanged.

A strong remnant of the Vedic tradition is seen in the method of learning. One does not learn tabla from books but from a guru (teacher). The strong bond between teacher and disciple is considered essential for the continuation of the musical tradition. Indeed the tradition of teacher and disciple is considered to be at the very core of Indian classical music.

We use the expression "Indian music" rather loosely. In reality this consists of numerous different styles. There are two systems of classical music; one of Northern India, Pakistan and Bangladesh, and another which is found in southern India and Sri Lanka (Ceylon). There is also the popular medium of the film industry, which is comparable to American "Top 40". Finally there are innumerable folk traditions.

The tabla is found in all these traditions except for south Indian classical. Most people in the West think of tabla from the standpoint of the North Indian tradition. This is from exposure to great artists such as Zakir Hussain, Mahapurush Misra, Alla Rakha (Ravi Shankar's accompanist during the 60's) and a host of others. Although this is not the only genre to which tabla is important, it is a reasonable starting place. It is reasonable because this is the genre which created tabla, and provides the most systematic theoretical base for its performance practice. We will follow this viewpoint through the rest of this article.

The north Indian system is based upon two major concepts; "rag" and "tal". Rag may briefly be considered the melodic or modal aspect of the music while tal is the rhythmic. Both rag and tal occupy an equal and inseparable position in this system.

Tabla has a position in both rag and tal. When numerous tabla are tuned to the notes of the scale, entire melodies may be played. This is called "Tabla Tarang". However, the most important use of tabla is to provide the tal. It is in this capacity that most people think of the instrument.

The word "tal" literally means "clap". The clapping of hands may be the oldest form of rhythmic accompaniment. Today, a system of claps and waves forms a conceptual common ground. It is common to the way instrumentalists, dancers and vocalists think of rhythm.

Indian Rhythmic Cycles

Indian Rhythmic Cycles
The concept of the ever-recurring cyclic rhythms of the universe is one of the basic tenets of Hindu philosophy. The perception of the cyclic nature of life is reflected in Indian classical music through the device of tala, a recurring time-measure or rhythmic cycle. Just as in the Hindu religion, man is born, lives his life, dies and is then reincarnated to begin a new life, so the tala cycle begins, develops and then returns to the sam, the first beat of the cycle, anchor of all melody and rhythm and the leading beat to which all returns.

There are two different traditions in Indian classical music, the Carnatic music of South India and the Hindustani music of North India. The music of South India retained a purity of development that has led to a highly organized theoretical system. In contrast, Hindustani music has achieved its equally high artistic standards through the cultural interaction between Hindus and Muslims, producing an extremely rich but less-systemized music.

Click & PLAY

Click & PLAY

The Tabla originates from North India and consists of a set of two drums, treble and bass. They are distinct from most other drums in the world, in that each drum is played with a different hand. Very seldom do you see both hands playing on one drum. The drums have a regal history dating back centuries to the where all Palaces had their own set of full time musicians.

The performer sits on the floor with the drums in front of him, which are nestled in two supporting rings called ‘Adharas’. The high pitched drum is cylindrical in shape and stands about 10 inches high. It is made from wood, usually shisham or nim, and is hollowed out from the top like a big cup, remaining sealed at the bottom. The drum has only one skin, generally about 5 inches in diameter. The shell is wider at the bottom that the top by about 1 1/2 inches. The bass Tabla is basically a small single headed kettle drum made from nickel alloy. (It is sometimes possible to find them made from clay.) Both drum heads (Puri) are made form goat skin and have a complicated hoop (Pagri) which is woven around the edge of the skin. The skins are fixed to the drum with a long leather strap call ‘Chot’. This strap is threaded through the hoop and underneath the drum through a small leather ring.

Click & Play on line lessons

Click & Play on line lessons

A strong remnant of the Vedic tradition is seen in the method of learning. One does not learn tabla from books but from a guru (teacher). The strong bond between teacher and disciple is considered essential for the continuation of the musical tradition. Indeed the tradition of teacher and disciple is considered to be at the very core of Indian classical music.

We use the expression "Indian music" rather loosely. In reality this consists of numerous different styles. There are two systems of classical music; one of Northern India, Pakistan and Bangladesh, and another which is found in southern India and Sri Lanka (Ceylon). There is also the popular medium of the film industry, which is comparable to American "Top 40". Finally there are innumerable folk traditions.

The tabla is found in all these traditions except for south Indian classical. Most people in the West think of tabla from the standpoint of the North Indian tradition. This is from exposure to great artists such as Zakir Hussain, Mahapurush Misra, Alla Rakha (Ravi Shankar's accompanist during the 60's) and a host of others. Although this is not the only genre to which tabla is important, it is a reasonable starting place. It is reasonable because this is the genre which created tabla, and provides the most systematic theoretical base for its performance practice. We will follow this viewpoint through the rest of this article.

VOLUME-01-

VOLUME-01-

VOLUME -02-

VOLUME -02-

LEARNING THE TABLA - Volume 1 AND LEARNING THE TABLA II

I
This was the first audio CD / book instruction set for the tabla in the US. It is the first of a two volume set, which may be used by schools and private teachers as course materials to aid in their instruction. It may also be used as a self instruction set.

The histary

History
The history of this instrument is uncertain, and has been the subject of sometimes heated debate. Rebecca Stewart[2] suggested it was most likely a hybrid resulting from the experiments with existing drums such as pakhawaj, dholak and naqqara. The origins of tabla repertoire and technique may be found in all three and in physical structure there are also elements of all three: the smaller pakhawaj head for the dayan, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak.
accompanied by the great Tabla wizard of the Benaras Gharana Pandit Samta PrasadA common legendary account[3] credits the 13th century Indian poet Amir Khusrau as the inventor by splitting the single South Indian mrudangam drum into two or the North Indian pakhawaj in two. ('toda, tab bhi bola - tabla': 'When broke, it still spoke' - a fairly well-known Hindi pun) None of his writings on music mention the drum, but this apparent tradition of late invention, combined with the absence of the instrument in South Indian music, and that the tabla closely resembles a Mrudangam cut into two,the closed-ended, paired design that relates it to the Western clay-drums and tympani, altogether supports the view that the tabla is a comparatively recent development in northern Indian music. Other accounts place the invention of this instrument in the 18th century, and the first verifiable player of this drum was Ustad Suddhar Khan of Delhi.

The Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Bombay (6th century) contain depictions of the puskara drum. Musicians often placed the puskara's smaller vertical drum (called 'alinga'), on their lap and played more than one drum at a time. Similar regional instruments include the Punjabi dukkar, the Kashmiri dukra, the duggi in eastern Uttar Pradesh, and the mridangam. The mridangam (Southern equivalent of the Northern pakhavaj) is the principal drum in Carnatic music. The dhol (dholak) of eastern Afghanistan is related in terms of both construction and playing style. The main distinction of the tabla is the pairing of two different types of single-headed drums, whereas the dukkar, dukra, and duggi are pairs of the same type and the mridangam and dhol are double-headed, barrel-shaped drums.

The monthly News paper of the indian culturel centre 2010 September

The monthly News paper of the indian culturel centre 2010 September

Populer tabla Players

Zakir Hussain (musician)
Hussain worked with John McLaughlin on several Indo-Jazz projects, beginning with their collaboration in the band Shakti (band) on the albums Shakti (album) (1975 Columbia), A Handful of Beauty (1976 Columbia), and Natural Elements (1977 CBS). McLaughlin later appeared on Zakir's album Making Music. Twenty years later, they rejoined in the band Remember Shakti, recording the albums Remember Shakti (1999 Universal Records), The Believer (2000 Universal Records), Saturday Night in Bombay (2001 Universal Records), Live at 38th Montreux Jazz Festival (18 July 2004), and Live at Miles Davis Hall (8 July 2004). They also appeared in the DVD The Way of Beauty. Both bands performed live both in the U.S. and abroad as recently as 2008 [5

GITAR VS TABLA (LINK)

21 Apr 2008 ... Nirag on Guitar and Vivek on Tabla for the ISO Spring Fiesta .... Added to queue Piano tabla guitar and shakerby karmjandoo8683 views · 8:33 ...
www.youtube.com/watch?v=iz4RJv_h2UE - Cached - Similar

virtual tabla

virtual tabla

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