Krsna Kirtana Songs est. 2001                                                                                                                                                      www.kksongs.org

Approach to Teaching Tabla

 

Tabla is a very difficult drum to play. In fact, tabla is ranked the most difficult and intricate drum to play of all hand drums. Yet, tabla is considered one of the most basic instruments in the gallery of classical Indian instruments. If one wishes to pursue true interest and understanding of the classical music of North India, one cannot succeed without understanding the tabla. To understand the melody, which is like the mother in music, one must know about the rhythm, or the father of music. Therefore, tabla must be studied.

 

Keeping this in mind, tabla can be studied in two ways. One way is for a person who wishes to study other melodic instruments or vocal forms; the other way is an exclusive tabla player or percussionist. Depending on requirements of the person’s aspiration, light training or immensely long and difficult training is required. I tried to combine both styles into one course.

 

Here is a “general syllabus” on my approach to teaching tabla. If you were to look at five years worth of formalized, non-gurukula based study, I divided it up in a way that will accommodate solo percussionists and solo melodic artists.

 

YEAR ONE

- Introduction to the tabla, parts, history, very simple tips on maintenance and care

- The concept of the bol

- The left hand bols (ka, gha, ge, finger ka)

- Intonation and variations of the ge bol (sliding, swooping, pressure, etc.)

- Right hand bols (ta, tin, na, tun, tha, ti, ra, te, ta, do, na)

- Practicing strength on these bols

- Important phrases: trkta and gadigana

- Embellishment and development on it

- Brief introduction to tala and tintal

 

YEAR TWO

- Introcution to the tala (tala diagram, structure, vibhag, matra, tali, khali, sam)

- Theka vs. prakar

- Jati of the tala

- 16 matra talas: tintal and sitarkhani tala

- 8 matra talas : adha tintal, Prabhupada tala, kaherva forms, bhajani tala

- 12 matra tala: ektal

- 6 matra tala – dadra tala, khemta tala

- 7 matra tala – rupak tala

- 14 matra tala – dipachandi tala

- 10 matra tala – jhaptala

- reviewing talas and purpose

- each tala featured will be look at the aspect of accompanying an artist: I usually bring an esraj, guitar, or harmonium to play along to serve them practice on playing theka and some prakars.

 

YEAR THREE

- Reviewing each tala

- Vilambit lay of most of the talas

- Madhya lay reviewing

- Drut lay of most talas

- Basic classical accompanying. I’ll bring an instrument or I’ll sing to allow the student to understand accompanying in these tempos.

 

YEAR FOUR (PART ONE)

- Thekas and prakars

- Laggis

- Mukhra, tihais, and tod

 

YEAR FOUR (PART TWO)

- Qaidas

- Rela

- Development and improvisation

 

YEAR FIVE AND SIX

- Stagecraft

- Tabla Solo points and aspects

- Practicing various intricate aspects of tabla (chalan, tukhra, parans, peshkars, chakradhars, etc.)

- Reparing, tuning, maintenance

- Teaching aspects

- Performing

 

A good amount of the topics is featured on my tabla guide found on my homepage. The first four and half years is primarily for those who wish to study tabla as an accompanying instrument. The other half of the course is for exclusive percussionists and those who wish to study tabla as a solo instrument.