Tabla Kaida Pdf
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Quick Definition: The most important theme-and-variation form of classical tabla, essential for developing both technique and fluency with the language. Performed mostly in tabla solo, and occasionally in accompaniment.
And for listeners, no other single form will teach you more about classical tabla; the kayda is both the most pure theme-and-variation form, and the best example of the cyclic form, which we hear throughout the classical repertoire.
Like so much of the tabla repertoire, the history of the kayda is vague. But it is widely believed that the kayda form originated in the Dilli gharana. And until today, the Dilli and Ajrara gharanas are known for their wide and beautiful variety of kaydas (Ajrara is considered a close relative of Dilli).
The word kayda has various related translations. Two of them are "system of rules" and "method". Both of these meanings can help you understand that the kayda is more than a compositional form; it is also a system of practice and improvisation.
If you study the relatively small number of Dilli and Benares kaydas on this website, you will find many phrases from these compositions repeated in countless other compositions, but in surprisingly different and creative ways.
Tens of compositions are played on the tabla and creating an exhaustive list would be difficult. Not only because of the sheer number of them, but also due to the blurry boundaries of some of them. There is a considerable amount of overlapping depending on who you ask. However, this should not be a hurdle in our understanding.
While originally it is a thing related to the Pakhawaj, it is widely played on the tabla too. It can be described as a special, impactful, and long Tukra. One of the defining qualities of a Paran is that the bols go about repeating.
As the title of this lesson suggests, this is the complete full-speed development of DhatiDhagena DhaTirakita as performed by Ustad Zakir Hussain on the album Selects. I've long been captivated by this performance and finally decided to transcribe it to better understand Zakir ji's development process. The transcription notes the time when each cycle is played so you can follow along. If you don't own this album, buy it! It represents some of the finest examples of Tabla music ever released.
I'm going to post the transcription both as jpegs and as a pdf to download. Please note that the paltas are broken down into constituent blocks of phrases, not by matra. I feel that this makes the composition much easier to read and better illuminates the thought process.
After completing the transcription, a few things jumped out at me. Note that the bol tirakita, the primary subject of this kaida, is not played to an overwhelming degree; In fact, the only time two "Dha Tirakita" phrases are ever played back to back is once in avartaan 11 (in fact, the phrase is "Ta Tirakita" as it only occurs in the khali section). The relationship between "Dha Tirakita" and its neighboring phrases of "Dhati" and "Dhagena" are of much more interest to Zakir ji. The entire development is distinguished by the fluidity of the paltas, the use of farashbandi (paltas where the khali section does not match the bhari section, such as avartaans 4 and 11 among others), and the way one palta informs the next. Note that the extended roll in the khali section of avartaans 12 and 13 is a throwback to Ustad Habibuddin Khan. Overall the performance has a feeling of spontaneity which I find extremely enjoyable.
I hope that other tabla players can use this transcription to help inform their own kaida developments, rather than just memorize and imitate this one. In a future blog post I'll provide a transcription of my guru Pandit Sudhir Mainkar's development of this same kaida for contrast. If you appreciate this material and want to see more, let me know!
This kaida is credited to Ustad Alla Rakha, and among current masters it is being played with astonishing brilliance by his student Pandit Yogesh Samsi. I first learned it from my guru Pandit Vishal Nagar and the first recording of it I ever heard was from Ustad Zakir Hussain's Tabla solo album "The Ultimate in Percussion Music [1986]" where he plays a modified version in 14 beats. As this is a Punjab kaida, Tete should be played index finger first and middle finger second, rather than the other way around, but of course people play it both ways. For students who have never before practiced Punjab style tete this is a good kaida to learn it with.
Let's go ahead and analyze it quickly. This is basically a two-line composition with each line ending in the identical phrase "DhaDhaTete DhageDhinagena [or Tinakena]." This phrase comprises five beats. The first line begins with "Dha - Tete" and the second line begins with "Dha - Dha - TeteTete," so a doubling of that motif. Taken together, the first line comprises seven beats and the second line 9 beats. Let's compare the two lines separately:
The unequal length of these phrases leads to interesting variations at the outset because while a typical dohara or 3+1 -type variation is technically possible, it will sound rather dull in comparison to some of the other options now available to us. So now I'll quickly provide some sample variations along with a breakdown of the structure and indications for where each new phrase starts.
All three of these variations serve as a potential starting point, or they can all three be played in a row. These are all very superficial variations, just playing with the structure of the composition; we haven't yet even begun to play with the actual language available to us.
This comprehensive course, titled '11 matra Rudra Taal Tabla Solo Package - Peshkaar, Kaida Rela,' is an immersive learning experience designed for tabla enthusiasts seeking to master the intricate rhythms of the Rudra Taal. With a focus on Peshkaar, Kaida, and Rela, this package offers a well-rounded understanding of the tabla solo composition. Throughout the course, you will dive into the world of Rudra Taal, which consists of 11 matras (beats) in total. You will learn the foundational techniques, hand placements, and the art of producing a resonant sound on the tabla. The course caters to both beginners and intermediate-level learners, ensuring a gradual progression in your tabla skills. The first module of the course focuses on Peshkaar, a significant component of tabla solo compositions. You will learn various Peshkaar compositions in Rudra Taal, exploring different bols (syllables) and patterns. Step-by-step guidance will be provided to develop your dexterity and coordination in executing these compositions with precision. Moving on to the second module, you will delve into Kaida, a core element of tabla solo performances. Expanding your repertoire, you'll learn diverse Kaidas in Rudra Taal, emphasizing intricate variations, tihais, and improvisations. The course will highlight the importance of layakari (rhythmic embellishments) and help you develop your own unique style within the framework of Kaida. The final module concentrates on Rela, an exhilarating and fast-paced tabla solo segment. You will explore different Rela compositions in Rudra Taal, understanding the dynamics and key techniques required to master this challenging aspect of tabla playing. The course will encourage you to experiment and improvise in Rela, enabling you to express your creativity and musicality.
I'm Shiv Shankar Banerjee, A Grade Tabla Player, Masters Degree in Music, Digital Tabla Guru, and Son of the Legendary Guru Pandit Kishore Banerjee. With over 28 years of experience, I've taught over 2500 students worldwide. I'm an ICCR empaneled artist, represented India globally, received the National Scholarship in 1999, as well as recieved numerous awards in Tabla..
This is a common question for prospective students and parents interested in enrolling their children in Tabla class. To start, our focus is on teaching the proper technique. This includes learning how to sit with the instrument (posture); where to place your hands; and some of the fundamental notes, or bols, of the Tabla.
Now that you have learned the first Kaida and your hands are settled on the instrument, students begin to branch out into various sounds with different hand movements. You will learn new kaidas, relas, and taals.
Kayda means a rule or something bound to a limit or conditions. It is a composition that we can improvise in a taal cycle and it is designed according to the cycle. It must have khali and bhari components. Mostly, it is composed symmetrical to the taal cycle but sometimes takes a different approach. Kayda is firstly introduced by Delhi Gharana and then after it is adopted and developed by other Gharanas as well. It is also mentioned as Qaida. Kayda is an essential component in tabla. It is a well-structured composition of tabla Phrases and syllables. As we know, we have our language in tabla that we form with the help of tabla syllables like - Ta, Tin, tu, Kat, etc. Generally, Kaida starts with a bass phrase like "Dha, Dhin" and ends with a resonating sound, "Dhina, Dhinagina" etc.
It's not a single composition it is a set of Kayda's main theme, variations, or paltas and a tihai or a Chakradhar tihai. So this group all together forms a Kayda. They can be various types like in Tean Taal we can create kaydas in 4-4, 8-8, and 3-2-3-like patterns. Also in variations we have variety, which we discuss in the upcoming Para with the Chakradar tihai at the end, we have a variety of forms that we can use with the Qaida. (Very soon we will upload that chapter in detail separately right here to show the different types of chakradars which you can use with the Kaida.
For palta or variation, we have a very simple rule. First, We should improvise in the first quarter and second, followed by the first half of the Qaida. Third, without a base version of the first quarter, Fourth, Qaida first half. Most importantly, we should use Dhina, Dhinagina, etc to close the variation.
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