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GNDU Question Paper-2024

B.A 2

Semester

TABLA

(Paper-A: Theory)

Time Allowed: 3 Hours Maximum Marks: 50

Note: There are Eight questions of equal marks. Candidates are required to attempt any Four

questions.

SECTION-A

1. Define the following terms: Gat, Tripalli & Paran.

2. Write one Sadharan Tukda in Teentala with Tala Notation System.

SECTION-B

3. Throw light on Keharwa & Dadra Talas that are used in Light Music.

4. Give the brief introduction of Ektala with example.

SECTION-C

5. Explain about musical contribution of Pt. Lakshman Singh Seen.

6. Write one Kayada of Ajrada Gharana with two Palta & Tihai in Tala Notation System.

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SECTION-D

7. Make a pictorial diagram of Khol with their various parts.

8. Write Teentala in Tigun Laya with Tala Notation System.

GNDU Answer Paper-2024

B.A 2

Semester

TABLA

(Paper-A: Theory)

Time Allowed: 3 Hours Maximum Marks: 50

Note: There are Eight questions of equal marks. Candidates are required to attempt any Four

questions.

SECTION-A

1. Define the following terms: Gat, Tripalli & Paran.

Ans: Gat, Tripalli & Paran in Tabla

Tabla is one of the most popular percussion instruments in Indian classical music, known for its

rhythmic complexity and intricate compositions. In Tabla, different types of compositions are used

to create rhythmic variations, each serving a distinct purpose in performance. Among these

compositions, Gat, Tripalli, and Paran are important concepts that every Tabla student should

understand.

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Let's explore each term in detail.

1. Gat

Meaning and Definition

In Tabla, Gat refers to a fixed rhythmic composition that follows a specific structure and is usually

performed in a particular Taal (rhythmic cycle). The word "Gat" is derived from the Hindi word

"Gati," which means movement. Just as movement is essential in dance and melody, Gat provides

movement and flow in Tabla compositions.

Characteristics of Gat

• It is a pre-composed rhythm that does not change like improvisational playing.

• It follows a specific Taal (rhythmic cycle), such as Teen Taal (16 beats), Jhap Taal (10 beats),

or Rupak Taal (7 beats).

• It is often played in medium or fast tempo to showcase speed and dexterity.

• Gats are commonly used in Kathak dance accompaniment and instrumental performances.

Types of Gat

1. Gat-Tukda – A short and simple rhythmic composition.

2. Gat-Paran – A Gat that includes elements of Paran (another complex rhythmic structure).

3. Chakradar Gat – A Gat that repeats three times (three cycles) to conclude with emphasis.

Example of a Simple Gat in Teen Taal (16 beats)

(Dhati Dhati Dhage Traka, Takita Takita Dhin)

This composition is played in a rhythmic cycle of 16 beats and provides a structured flow to a Tabla

performance.

Analogy for Better Understanding

Think of Gat as a "dance choreography" in Tabla. Just as a dancer follows a planned sequence of

movements, a Tabla player follows the rhythmic sequence of a Gat.

2. Tripalli

Meaning and Definition

Tripalli is a rhythmic pattern in Tabla that is played in three different layas (tempos) within a single

composition. The name "Tripalli" is derived from "Tri" (three) and "Palli" (layers or speeds), meaning

a composition that has three speed variations.

Characteristics of Tripalli

• It is a rhythmic technique rather than a fixed composition.

• It involves playing the same rhythmic phrase in three speeds:

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1. Vilambit Laya (slow speed)

2. Madhya Laya (medium speed)

3. Drut Laya (fast speed)

• Tripalli is used to showcase control over rhythm and tempo.

• It requires high concentration and precision because the player must maintain the rhythm

accurately while changing speeds.

How Tripalli is Played?

Let's say we have a basic phrase:

Dha Dhin Na, Dha Tin Na, Dha Dhin Na, Dha Tin Na

1. In slow speed (Vilambit Laya) – Each beat is played at a relaxed pace.

2. In medium speed (Madhya Laya) – The same composition is played slightly faster.

3. In fast speed (Drut Laya) – The composition is played very quickly.

Importance of Tripalli

• It tests the skill of the Tabla player in handling different tempos.

• It is often used in solo Tabla performances to showcase mastery.

• It adds a dramatic effect to the performance, making it more engaging.

Analogy for Better Understanding

Think of Tripalli as driving a car in different gears. At first, you drive slowly (first gear), then you

increase the speed (second gear), and finally, you drive at high speed (third gear). Similarly, in

Tripalli, the rhythm moves through different speeds while maintaining the same pattern.

3. Paran

Meaning and Definition

Paran is one of the most powerful and energetic compositions in Tabla. It is a rhythmic phrase that

uses strong and bold strokes, often incorporating syllables from the Pakhawaj (a traditional Indian

drum).

Characteristics of Paran

• Paran is a long and complex rhythmic composition.

• It consists of bols (syllables) that are played with force and strength.

• It is often played in Drut Laya (fast tempo) to create excitement in performances.

• It is widely used in Kathak dance accompaniment and Tabla solos.

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Types of Paran

1. Bol Paran – A Paran that focuses mainly on powerful strokes (e.g., Dha, Dhin, Na, Tin).

2. Gat Paran – A Paran that has a structured composition similar to Gat.

3. Chakradar Paran – A Paran that is repeated three times in succession.

Example of a Simple Paran in Teen Taal

(Dha Kida Tak Dhet, Dha S Dhet Dha)

This Paran uses bold strokes and creates an energetic impact in a performance.

Importance of Paran

• It provides a grand and powerful feel to the performance.

• It is often played in climactic moments to conclude a performance.

• Paran is considered a signature composition of experienced Tabla players.

Analogy for Better Understanding

Think of Paran as the final action scene in a movie. Just as a movie builds up excitement and ends

with a powerful climax, Paran adds an explosive and dramatic finish to a Tabla performance.

Comparison of Gat, Tripalli, and Paran

Feature

Gat

Tripalli

Paran

Meaning

A rhythmic composition

A pattern played in

three speeds

A bold and powerful

composition

Complexity

Medium

High

Very High

Usage

Dance and instrumental accompaniment

Solo performances

Dance accompaniment and

solo performances

Speed

Medium to fast

Slow, medium, and fast

Fast and powerful

Impact

Structured and flowing

Dynamic and varied

Bold and dramatic

Conclusion

Understanding Gat, Tripalli, and Paran is essential for any Tabla student. Each of these elements has

its own unique role in Tabla performances:

• Gat provides structure and flow.

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• Tripalli challenges the player's control over tempo.

• Paran adds energy and excitement to the performance.

Mastering these techniques requires practice, patience, and precision. By incorporating Gat, Tripalli,

and Paran into their repertoire, a Tabla player can enhance their rhythmic creativity and

performance skills significantly.

2. Write one Sadharan Tukda in Teentala with Tala Notation System.

Ans: Introduction to Tabla and Teentaal

Tabla is a popular Indian percussion instrument used in classical, folk, and even contemporary

music. It consists of two drums: Dayan (right-hand drum) and Bayan (left-hand drum). The sounds of

the tabla are produced by striking different parts of these drums with varying finger techniques.

One of the most commonly used rhythms in Indian classical music is Teentaal. It is a 16-beat cycle

(matra) and is widely used in both classical and semi-classical performances.

The structure of Teentaal is divided into 4 vibhags (sections) of 4 beats each, as shown below:

Vibhag

Matras

Bol (syllables)

Tali/Khaali

1st

1, 2, 3, 4

Dha Dhin Dhin Dha

Tali (clap)

2nd

5, 6, 7, 8

Dha Dhin Dhin Dha

Tali (clap)

3rd

9, 10, 11, 12

Dha Tin Tin Ta

Khaali (wave)

4th

13, 14, 15, 16

Ta Dhin Dhin Dha

Tali (clap)

What is a Sadharan Tukda?

A Sadharan Tukda is a simple and straightforward rhythmic composition in tabla. The word "Tukda"

means a small rhythmic piece that can be played as a standalone composition or as part of a tabla

solo performance.

• It follows a fixed structure and ends with a Tihai (a phrase repeated three times to create a

rhythmic ending).

• It is commonly played in Teentaal and is suitable for beginners learning tabla.

• The primary focus of a Tukda is to maintain clarity and precision while playing the syllables.

Sadharan Tukda in Teentaal

Below is a Sadharan Tukda in Teentaal with proper notation and explanation:

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Tukda Composition (Bol Notation):

(Each syllable represents a stroke played on the tabla)

Dha - Ti - Dha - Ti | Dha - Ti - Dha - Ti

Dha - Ge - Na - Dha | Ti - Ti - Dha - Ti

Dha - Ti - Dha - Ti | Dha - Ti - Dha - Ti

Dha - Ge - Na - Dha | Ti - Ti - Dha - Ti

Tihai (Repeated 3 Times to Conclude):

(This phrase is played three times to create a rhythmic ending)

Dha Ti Dha Ti Dha Ge Na | Dha Ti Ti Dha Ti

Explanation of the Tukda

1. Understanding the Strokes:

o Dha = Played using both hands (Dayan + Bayan)

o Ti = Played on the right drum (Dayan)

o Ge = A deep sound played on the left drum (Bayan)

o Na = A clear high-pitched sound on the right drum (Dayan)

2. Breaking Down the Composition:

o The first two lines set up the rhythm by alternating between "Dha-Ti" and "Dha-Ge-

Na".

o The third and fourth lines repeat the first two, maintaining the rhythmic cycle.

3. Tihai - The Concluding Phrase:

o The Tihai (final three repetitions) ensures that the composition ends precisely on sam

(the first beat of Teentaal).

o Each section of the Tihai is structured similarly, reinforcing the rhythm.

Tala Notation System Representation

The Tala Notation System helps in visually representing tabla compositions. Below is the Tukda in

the notation system:

Sadharan Tukda Notation in Teentaal:

(X) Dha - Ti - Dha - Ti | Dha - Ti - Dha - Ti

(2) Dha - Ge - Na - Dha | Ti - Ti - Dha - Ti

(0) Dha - Ti - Dha - Ti | Dha - Ti - Dha - Ti

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(3) Dha - Ge - Na - Dha | Ti - Ti - Dha - Ti

Tihai Notation:

Dha - Ti - Dha - Ti - Dha - Ge - Na | Dha - Ti - Ti - Dha - Ti

Legend for the Notation System:

• (X) = First Clap (Sam)

• (2) = Second Clap (Tali)

• (0) = Khaali (Wave)

• (3) = Third Clap (Tali)

Why is This Tukda Important?

1. Basic Structure of Tabla Playing:

o This composition helps beginners understand how tabla compositions are structured.

2. Strengthens Rhythm Sense:

o Practicing this Tukda enhances a student’s ability to maintain a consistent rhythm.

3. Improves Clarity in Playing Tabla Bol (Syllables):

o Each stroke must be played clearly to maintain the proper sound quality.

4. Understanding Tihai:

o The Tihai is a fundamental aspect of Indian rhythmic cycles, and mastering it is

essential for playing tabla compositions effectively.

Practice Tips for Playing This Tukda

1. Start Slow:

o Begin by playing at a slow tempo and gradually increase speed as you gain

confidence.

2. Use a Metronome or Lehra:

o A lehra (a repeating melody played on harmonium or electronic device) helps

maintain tempo while practicing.

3. Focus on Each Stroke:

o Make sure that every syllable (bol) is played with precision and clarity.

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4. Repeat Several Times:

o The more you repeat, the more comfortable you will become with the rhythm.

5. Practice with Variations:

o Try playing the same Tukda in different tempos (speeds) and observe how it fits

within the taal cycle.

Conclusion

A Sadharan Tukda in Teentaal is a fundamental composition in tabla that helps students grasp

rhythm, clarity, and structure. By understanding the basic bols (syllables) and practicing with

precision, learners can build a strong foundation in tabla playing.

By following the notation system and using proper practice techniques, anyone can master this

composition and use it in performances.

SECTION-B

3. Throw light on Keharwa & Dadra Talas that are used in Light Music.

Ans: Keharwa and Dadra Talas in Light Music

Tabla is one of the most important percussion instruments in Indian music, and it is widely used in

both classical and light music. In light music, rhythmic patterns play a crucial role in maintaining the

tempo and enhancing the overall feel of the composition. Among the various talas (rhythmic cycles)

used in light music, Keharwa Tala and Dadra Tala are the most popular. These talas provide a steady

and pleasant rhythm, making them suitable for various genres like folk songs, bhajans, ghazals, film

songs, and semi-classical music.

Let us now discuss these two talas in detail.

1. Keharwa Tala

Basic Structure

Keharwa Tala is an 8-beat cycle, meaning it has 8 matras (beats) in one complete cycle. It is one of

the most commonly used talas in Indian music, especially in folk songs and film songs. Its simple and

catchy rhythm makes it highly popular in light music.

Theka (Basic Pattern)

The standard theka (rhythmic pattern) of Keharwa Tala is:

Dha Ge Na Ti | Na Ka Dha Ti

In terms of beats, it is structured as:

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Beat No.

Syllables (Bol)

Dha

This sequence repeats continuously, providing a steady rhythm.

Characteristics of Keharwa Tala

1. Simple and Versatile – Keharwa is very easy to understand and play. It suits a wide range of

musical compositions.

2. Balanced Sound – The combination of Dha, Na, Ti, and Ge creates a balanced rhythmic

pattern, neither too fast nor too slow.

3. Widely Used in Light Music – It is often used in bhajans, folk songs, Bollywood songs,

qawwalis, and even instrumental music.

4. Easily Adaptable – Musicians often modify its pattern slightly to suit different moods, from

joyous and energetic to calm and soothing.

Examples of Keharwa Tala in Light Music

• Many Bollywood songs are composed in Keharwa Tala, such as:

o Kajra Mohabbat Wala (Old Hindi song)

o Chhaiya Chhaiya (A modern Bollywood song)

• It is frequently used in bhajans (devotional songs), such as:

o Raghupati Raghav Raja Ram

• It is also common in folk music from various regions of India.

Variations of Keharwa

Keharwa can be played in different styles, depending on the tempo and feel of the song. Some

common variations include:

1. Simple Keharwa – Used in soft melodies and bhajans.

2. Dhamaal Keharwa – A slightly energetic version, often used in qawwalis.

3. Funky Keharwa – A modern variation used in fusion music and Bollywood songs.

2. Dadra Tala

Basic Structure

Dadra Tala is a 6-beat cycle, meaning it has 6 matras (beats) in one complete cycle. It is a lighter and

shorter tala compared to Keharwa, making it ideal for semi-classical and folk music.

Theka (Basic Pattern)

The standard theka of Dadra Tala is:

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Dha Dhi Na | Dha Tu Na

In terms of beats, it is structured as:

Beat No.

Syllables (Bol)

Dha

Dhi

Dha

This cycle repeats continuously, creating a smooth and rhythmic feel.

Characteristics of Dadra Tala

1. Shorter Cycle – Since Dadra has only 6 beats, it creates a faster and more rhythmic feel

compared to Keharwa.

2. Sweet and Lively – The structure of Dadra Tala gives it a gentle yet energetic flow, making it

a favorite for light compositions.

3. Perfect for Semi-Classical Music – It is often used in thumri, ghazals, folk songs, and light

Bollywood music.

4. Commonly Played at a Moderate Tempo – It is neither too slow nor too fast, making it very

adaptable to different types of songs.

Examples of Dadra Tala in Light Music

• Thumri and Ghazals – Many semi-classical compositions use Dadra, such as:

o Baju Band Khul Khul Jaye (A famous thumri)

• Bollywood Songs – Some Hindi film songs based on Dadra include:

o Chaudhvin Ka Chand Ho

o Ajeeb Dastan Hai Yeh

• Folk Songs – Dadra Tala is common in various regional folk songs, especially in Bhojpuri,

Bengali, and Rajasthani music.

Variations of Dadra

1. Simple Dadra – Used in slow and melodious ghazals.

2. Fast Dadra – Played at a higher tempo in folk songs and Bollywood dance numbers.

Comparison of Keharwa and Dadra Talas

Feature

Keharwa Tala

Dadra Tala

Number of Beats

Basic Theka

Dha Ge Na Ti

Na Ka Dha Ti

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Feature

Keharwa Tala

Dadra Tala

Mood & Feel

Versatile, steady, and balanced

Lively, short, and rhythmic

Usage

Bhajans, folk, qawwalis, Bollywood

Ghazals, thumri, folk, light songs

Tempo

Moderate to fast

Moderate

Conclusion

Both Keharwa Tala and Dadra Tala are widely used in light music due to their simplicity and

rhythmic appeal. Keharwa Tala (8 beats) provides a steady and versatile rhythm, making it perfect

for folk songs, bhajans, and Bollywood music. On the other hand, Dadra Tala (6 beats) is shorter and

creates a livelier feel, making it suitable for ghazals, thumris, and semi-classical songs.

These talas are an essential part of Indian music, and learning them is crucial for anyone interested

in tabla playing or light music. Whether in devotional songs, Bollywood hits, or traditional folk

music, the rhythmic charm of Keharwa and Dadra continues to captivate audiences worldwide.

4. Give the brief introduction of Ektala with example.

Ans: Introduction to Ektala

Tabla is one of the most popular and versatile percussion instruments in Indian classical music. It

consists of two drums—the Dayan (right drum) and the Bayan (left drum)—which are played using

various strokes and rhythmic patterns. In the system of Indian classical music, Tala plays a crucial

role in maintaining rhythm and structure in a musical performance. One such important Tala is

Ektala.

Meaning and Significance of Ektala

The name Ektala is derived from two Sanskrit words:

• "Ek" () meaning "one"

• "Tala" () meaning "rhythm" or "cycle"

Despite its name suggesting simplicity, Ektala is a structured and well-balanced Tala consisting of

twelve beats. It is widely used in Hindustani classical music, devotional songs (Bhajans), semi-

classical music, and even some folk compositions. It provides a steady rhythmic foundation for both

vocal and instrumental performances.

Structure of Ektala

Ektala consists of 12 Matras (beats), divided into six Vibhags (sections) of two Matras each. The

pattern of beats and divisions helps maintain rhythmic discipline while allowing creative

improvisation.

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Here’s how Ektala is structured:

Matra (Beat) Number

Bols (Syllables)

Clap/Wave

Dhin

Clap ()

Dhin

Dha

Clap (2nd Vibhag)

Tin

Clap (3rd Vibhag)

Dhin

Clap (4th Vibhag)

Dha

Tin

Wave ()

Dhin

Clap (6th Vibhag)

Dhin

In the table above:

• "" (Sam) is the first beat where a musical phrase often begins. It is indicated with a clap.

• "" (Khali) is a "wave" beat, indicating a lighter emphasis.

• The divisions (Vibhags) help musicians keep track of the rhythm cycle.

Bols (Syllables) of Ektala

The spoken rhythmic pattern of Ektala, known as its Bol, consists of the following sequence:

Each of these syllables corresponds to a specific stroke played on the Tabla.

• Dhin () → Played with both hands; Dayan (right drum) produces an open tone, and

Bayan (left drum) creates a bass sound.

• Dha () → Played with both hands together, producing a resonant sound.

• Tin () → A light stroke played on the Dayan (right drum) with the index finger.

• Ta () → Played on the Dayan using the index and middle fingers, producing a sharp sound.

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Example of Ektala in Use

Ektala is often used in various forms of classical and devotional music. Some examples include:

1. Classical Bandish – Many Khayal compositions in Hindustani classical music are set to Ektala.

2. Bhajans and Kirtans – Devotional songs praising deities frequently use Ektala for a steady

rhythm.

3. Dhrupad and Dhamar – These are ancient styles of Hindustani music where Ektala plays an

important role in the rhythmic accompaniment.

4. Instrumental Music – Many compositions for instruments like Sitar, Sarod, and Flute use

Ektala as a rhythmic base.

Difference Between Ektala and Other Talas

Feature

Ektala (12 Beats)

Teentala (16 Beats)

Jhaptaal (10 Beats)

Number of Beats

(Matras)

Number of Sections

(Vibhags)

Commonly Used In

Classical and Devotional Music

Classical and

Semi-Classical Music

Instrumental and

Vocal Music

Sam (First Beat)

1st Matra

Khali (Empty Beat)

9th Matra

6th Matra

Ektala in Different Tempos (Layakari)

Ektala can be played in different speeds (Layakari):

1. Vilambit Laya (Slow Tempo) – Used in slow and meditative compositions, often in Dhrupad

music.

2. Madhya Laya (Medium Tempo) – Used in semi-classical forms like Bhajans and Thumri.

3. Drut Laya (Fast Tempo) – Used in energetic instrumental and dance compositions.

Musicians often experiment with variations of Ektala by altering the tempo, emphasizing different

beats, or adding improvisational elements.

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Comparison with Other 12-Beat Talas

Ektala is not the only 12-beat Tala in Indian classical music. It is often compared to:

• Chautala (used in Dhrupad and Pakhawaj compositions)

• Rupak Tala (a 7-beat Tala with a different structure)

What makes Ektala unique is its evenly spaced beats and simple, symmetrical structure, making it

easy to follow and use in various musical forms.

Conclusion

Ektala is one of the most important rhythmic cycles in Hindustani classical music. Despite its

straightforward 12-beat structure, it offers rich possibilities for creativity and expression. Whether

used in devotional songs, classical compositions, or instrumental music, Ektala provides a steady

and balanced rhythmic framework that enhances the beauty of musical performance.

By mastering Ektala, musicians and students of Tabla can develop a strong sense of rhythm, which is

essential for both traditional and modern musical applications.

SECTION-C

5. Explain about musical contribution of Pt. Lakshman Singh Seen.

Ans: Musical Contribution of Pt. Lakshman Singh Seen

Introduction

Pt. Lakshman Singh Seen was a highly respected tabla maestro from India, known for his deep

knowledge, technical brilliance, and immense contributions to the world of Indian classical music.

He played a significant role in popularizing tabla as a solo instrument and as an accompaniment in

various musical performances. His dedication to preserving and teaching the art of tabla made him

an influential figure in the field of Indian percussion music.

In this discussion, we will explore his contributions, his impact on the tabla tradition, and his

influence on the next generation of musicians.

Early Life and Training

Pt. Lakshman Singh Seen was born into a musical family, where he developed an early interest in

tabla. He received rigorous training in the Punjab Gharana, one of the major styles of tabla playing.

His gurus (teachers) played an essential role in shaping his understanding of rhythm, technique, and

performance.

From an early age, he showed remarkable talent and discipline, which helped him master complex

rhythmic patterns. His training focused on both the theoretical and practical aspects of tabla,

allowing him to develop a deep understanding of the instrument.

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Musical Style and Innovations

Pt. Lakshman Singh Seen was known for his unique style, which blended technical precision with

creative expression. His playing was characterized by:

1. Complex and Powerful Strokes – He had exceptional control over the tabla, producing clear

and powerful sounds. His ability to execute fast and intricate compositions with clarity made

his performances stand out.

2. Use of Punjab Gharana Techniques – The Punjab Gharana is known for its bold strokes,

energetic compositions, and dynamic presentation. He played a crucial role in preserving

and propagating this style.

3. Fusion of Traditional and Modern Elements – He respected the traditional methods of tabla

playing but also introduced innovative techniques to make the music more appealing to

contemporary audiences.

One of his major contributions was refining and expanding the tabla solo performance format.

Earlier, tabla was mainly seen as an accompanying instrument, but he helped in showcasing its

potential as a lead instrument.

Contribution to Tabla Education

Pt. Lakshman Singh Seen was not just a performer but also a dedicated teacher. He understood that

to keep the tabla tradition alive, proper education and training were necessary. He taught

numerous students, many of whom became successful musicians.

His teaching methods focused on:

• Strong Foundation – He emphasized the importance of mastering the basic strokes and

understanding rhythm before moving on to advanced compositions.

• Balanced Approach – He encouraged students to respect traditional techniques while also

exploring new ideas.

• Practical Training – He provided his students with opportunities to perform, which helped

them gain confidence and experience.

Many of his students carried forward his legacy, making significant contributions to the field of

tabla.

Tabla as an Accompanying and Solo Instrument

One of Pt. Lakshman Singh Seen’s major contributions was his work in both solo and

accompaniment formats of tabla playing.

1. Tabla as a Solo Instrument – He developed new compositions and enhanced the structure

of tabla solo performances, making them more engaging for audiences. His approach

involved playing complex rhythmic patterns while maintaining clarity and expression.

2. Tabla as an Accompaniment – He accompanied many renowned classical vocalists and

instrumentalists. His ability to understand the mood and pace of a performance made him

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an ideal accompanist. He would adjust his playing according to the needs of the main

performer, enhancing the overall musical experience.

Contribution to Music Literature

Apart from his performances and teachings, Pt. Lakshman Singh Seen contributed to the theoretical

study of tabla. He wrote books and articles explaining different aspects of tabla playing, such as:

• The history and evolution of tabla

• Different tabla gharanas (styles)

• Techniques and compositions

• Importance of rhythm in Indian classical music

His written works helped students and scholars understand tabla in a structured and systematic

manner.

Collaboration with Other Musicians

Pt. Lakshman Singh Seen collaborated with many legendary musicians. His ability to adapt to

different styles of music made him a sought-after artist. He worked with both Indian classical

musicians and artists from other genres, showcasing the versatility of tabla.

He also performed in various national and international concerts, bringing Indian classical

percussion to a global audience. His performances were highly appreciated for their precision,

depth, and energy.

Recognition and Awards

Due to his immense contributions, Pt. Lakshman Singh Seen received numerous awards and honors.

His work was recognized by:

• Music Academies – He was honored by several institutions for his contributions to Indian

classical music.

• Government Awards – He received recognition from the Indian government for his role in

promoting and preserving tabla music.

• International Recognition – His performances in various countries helped spread awareness

about Indian percussion music, earning him international appreciation.

Impact on Future Generations

Pt. Lakshman Singh Seen’s influence can be seen in the work of his students and followers. Many of

his disciples have continued his legacy by becoming professional musicians, composers, and

teachers. His teachings continue to guide aspiring tabla players.

His contribution ensured that the Punjab Gharana style of tabla remains relevant and continues to

thrive.

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Conclusion

Pt. Lakshman Singh Seen was a remarkable tabla artist whose contributions had a lasting impact on

Indian classical music. His dedication to performance, education, and innovation helped in shaping

the future of tabla music. Through his students, writings, and performances, his legacy continues to

inspire generations of musicians.

His ability to balance tradition with innovation made him a true legend in the world of tabla. His

work remains invaluable in keeping the art of tabla alive and vibrant for future musicians and

audiences alike.

6. Write one Kayada of Ajrada Gharana with two Palta & Tihai in Tala Notation System.

Ans: Kayada of Ajrada Gharana with Two Palta & Tihai in Tala Notation System

Introduction to Ajrada Gharana Kayada

Ajrada Gharana is one of the prominent gharanas of tabla, known for its intricate and complex

compositions. It is famous for its use of off-beat (Khand Jati) structures, unique phrasing, and

syncopation. Kayada is a type of composition in tabla that follows a theme and its variations

(Paltas), and it concludes with a Tihai.

In this document, we will present a Kayada from Ajrada Gharana in the Tala Notation System with

two Paltas and a concluding Tihai.

Kayada in Teentaal (16 Beats)

Theme (Mukh):

Dha Dha Tita Dha Dha Tun Na Dha Dha Tita Dha Dha Dhin Na

(Repeat once to complete the cycle of 16 beats)

Explanation of the Theme:

1. The Kayada starts with a repetitive but structured pattern.

2. The strokes "Dha Dha Tita" give the composition its characteristic bounce and swing.

3. The syllables "Tun Na" and "Dhin Na" bring variation and dynamic balance to the piece.

4. The use of "Dha Dha" at the beginning reinforces the Ajrada Gharana’s distinct phrasing

style.

First Palta (Variation 1)

Dha Ti Ta Dha Dha Tita Dha Ti Ta Dha Dha Tun Na Dha Dha Dhin Na

Explanation:

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• The first Palta introduces slight variations in the placement of "Ti Ta," creating a syncopated

feel.

• This keeps the composition engaging while maintaining the basic structure.

Second Palta (Variation 2)

Dha Dha Tita Ti Ta Dha Dha Tita Dha Dha Tun Na Dha Dha Dhin Na

Explanation:

• This variation modifies the internal phrasing of the "Ti Ta" pattern.

• The slight shift in stroke placement adds a unique rhythmic texture to the Kayada.

• This exemplifies Ajrada Gharana’s characteristic approach of developing rhythmic tension

and resolution.

Tihai (Concluding Phrase)

Dha Dha Tita Dha Dha Tun Na Dha Dha Tita Dha Dha Tun Na Dha Dha Tita Dha Dha Tun Dha

Explanation:

• The Tihai is a phrase repeated three times, leading smoothly to the Sam (the first beat of the

cycle).

• The last "Dha" in the final repetition brings a powerful resolution to the composition.

• This Tihai ensures that the entire structure maintains its rhythmic integrity and aesthetic

appeal.

Complete Structure of the Kayada in Tala Notation System:

Beats

Kayada (Mukh)

Dha

Tun

Dha

Dhin

First Palta

Dha

Tun

Dha

Dhin

Second Palta

Dha

Tun

Dha

Tihai (1st Repetition)

Dha

Tun

Dha

Tun

Tihai (2nd Repetition)

Dha

Tun

Dha

Tun

Tihai (3rd Repetition)

Dha

Tun

Dha

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Conclusion

This Kayada from Ajrada Gharana demonstrates the beauty of structured improvisation in tabla.

Through the use of well-defined variations (Paltas) and a concluding Tihai, it showcases the

gharana’s signature rhythmic complexity and elegance. By practicing this composition, students can

develop a deeper understanding of rhythmic balance, phrasing, and the unique characteristics of

Ajrada Gharana.

Practicing this composition slowly and then gradually increasing the tempo will help in mastering

the control and fluidity required in Ajrada Gharana tabla playing.

SECTION-D

7. Make a pictorial diagram of Khol with their various parts.

Ans: Pictorial Diagram of Khol and Its Parts

Introduction to Khol

The Khol is a traditional Indian percussion instrument, mainly used in devotional and classical music,

especially in Bengal, Odisha, and Assam. It has a unique two-sided drum structure, with each side

producing different types of sounds. The instrument is similar to the Mridangam but has a distinct

design and playing technique.

Diagram of Khol (Labelled Parts)

To draw the Khol, follow these steps:

1. Draw an elongated drum shape, slightly bulging at the center.

2. Label the parts, including:

o Bayan (Bass Side)

o Dayan (Treble Side)

o Pudi (Drum Heads)

o Maddhya Bhaga (Middle Section)

o Chanti (Rim)

o Mooha (Edges)

o Baddha (Straps)

o Dori (Tuning Strings)

(I can generate an image of this structure for you. Would you like that?)

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Parts of Khol and Their Explanation

1. Bayan (Bass Side)

• This is the larger drum head, which produces a deep bass sound.

• It is typically made from clay, wood, or metal and has a special paste (known as syahi)

applied to its surface for sound variation.

• It is played with the left hand, using controlled strokes to create deep and resonant tones.

2. Dayan (Treble Side)

• This is the smaller drum head, producing higher-pitched sounds.

• It is generally made of wood and is similar to the Tabla's treble drum.

• It is played with the right hand, producing sharp and rhythmic beats.

3. Pudi (Drum Heads)

• Both Bayan and Dayan have drum heads made of stretched animal skin (traditionally goat

skin).

• The circular black spot (syahi) in the center helps in creating unique tonal variations.

• The tension of these heads can be adjusted for tuning.

4. Maddhya Bhaga (Middle Section)

• The middle part of the drum, usually bulging out slightly, helps in sound resonance.

• It is made of clay (in traditional Khols) or wood/fiber (in modern versions).

• It provides the characteristic deep and warm sound of the Khol.

5. Chanti (Rim)

• The outer ring or edge of the drum.

• Used to produce additional tonal effects by striking different parts of it.

• It helps in holding and balancing the instrument while playing.

6. Mooha (Edges)

• The outer part of the drumheads, where the player can create soft and sharp strokes.

• Skilled players use it to create different sound patterns.

7. Baddha (Straps)

• These are tight leather or synthetic straps that hold the drumheads in place.

• They are connected from the Bayan to the Dayan, forming a network of tension.

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8. Dori (Tuning Strings)

• The tuning ropes running around the drum help in adjusting the pitch and tone.

• The tension can be increased or decreased to fine-tune the instrument.

Playing Technique

• The Khol is played horizontally, either by placing it on the lap or using a cloth strap around

the shoulders.

• The left hand plays the bayan (bass side), while the right hand plays the dayan (treble side).

• Various strokes and techniques, such as "Ta," "Na," "Dhin," "Dha," "Ghe," and "Ka", are used

to create rhythmic patterns.

Conclusion

The Khol is a vital percussion instrument in Indian classical and devotional music. Understanding its

parts and structure helps musicians appreciate the complexity of its sound production. With its

deep bass and sharp treble tones, the Khol remains a significant instrument in traditional

Vaishnavite, Odissi, and Kirtan music.

8. Write Teentala in Tigun Laya with Tala Notation System.

Ans: Teentala in Tigun Laya with Tala Notation System

Introduction to Teentala

Teentala is one of the most commonly used Talas (rhythmic cycles) in Indian classical music,

especially in Tabla. It is a 16-beat cycle, meaning that it consists of 16 matras (beats) arranged in a

specific pattern. This Tala is widely used in both Hindustani classical music and Kathak dance.

Basic Structure of Teentala:

• Total Beats (Matras): 16

• Divisions (Vibhag): 4

• Beats per Division: 4

• Tali (Clap): 1st, 5th, and 13th beat

• Khali (Wave): 9th beat

Theka of Teentala in its Basic Form:

This is the standard way Teentala is played in Thah Laya (single speed).

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Matra

Bol (syllables)

Dha

Dhin

Dha

Dhin

Dha

Tin

Dhaa

Dhin

Dha

Understanding Tigun Laya

Laya refers to the tempo or speed of the Tala. In Indian music, a rhythm can be played in different

speeds. The three common Layas are:

1. Thah Laya (Single Speed, 1 beat per unit)

2. Dugun Laya (Double Speed, 2 beats per unit)

3. Tigun Laya (Triple Speed, 3 beats per unit)

In Tigun Laya, each beat is divided into three parts instead of one. This means that instead of 16

beats, we now have 48 syllables (16 × 3 = 48). The Tala remains the same in structure, but we play

three syllables per beat instead of one.

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Teentala in Tigun Laya (Tala Notation System)

Let’s see how Teentala is played in Tigun Laya (Triple Speed).

Each original Bol (syllable) is expanded into three syllables per beat:

Matra

Tigun Bol (3 syllables per beat)

Dha Dha Dha

Dhin Dhin Dhin

Dha Dha Dha

Dhin Dhin Dhin

Dha Dha Dha

Tin Tin Tin

Ta Ta Ta

Dhaa Dhaa Dhaa

Dhin Dhin Dhin

Dha Dha Dha

Explaining Tigun Laya with an Analogy

To understand Tigun Laya better, imagine you are walking at a normal pace (Thah Laya). If you start

jogging (Dugun Laya), you cover twice the distance in the same time. Now, if you run very fast

(Tigun Laya), you take three steps in the time of one normal step.

Similarly, in Tigun Laya, each beat is split into three smaller beats, making the rhythm much faster

and more energetic.

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Tigun Laya in Notation Form (Bhatkhande System)

In the Bhatkhande notation system, we represent Tigun Laya as follows:

Symbol Key:

• Sam (First beat): X

• Tali (Clap): 2, 3, 4

• Khali (Wave): 0

• Triplet Syllables per Matra: Separated by dashes (-)

Notation in Tigun Laya:

Teentala in Tigun Laya Notation

X Dha-Dha-Dha Dhin-Dhin-Dhin Dhin-Dhin-Dhin Dha-Dha-Dha |

2 Dha-Dha-Dha Dhin-Dhin-Dhin Dhin-Dhin-Dhin Dha-Dha-Dha |

0 Dha-Dha-Dha Tin-Tin-Tin Tin-Tin-Tin Ta-Ta-Ta |

3 Dhaa-Dhaa-Dhaa Dhin-Dhin-Dhin Dhin-Dhin-Dhin Dha-Dha-Dha ||

Each beat now contains three syllables, making the rhythm much more dynamic and fast-paced.

Practical Application of Teentala in Tigun Laya

1. In Tabla Performance

• Tigun Laya is commonly used in fast-paced Tukdas, Paran, and Rela compositions.

• It is often used in the climax (Jhala) of a Tabla solo performance to create excitement.

2. In Dance (Kathak)

• Dancers use Tigun Laya in Tatkar (footwork patterns) to create intricate rhythms.

• It is used in fast Chakkars (spins) and footwork variations.

Tips for Practicing Teentala in Tigun Laya

1. Start Slow: First, play Teentala in Thah Laya (single speed) to get comfortable with the beats.

2. Use a Metronome: Practice with a Tabla app or metronome to maintain a steady tempo.

3. Count Aloud: Say the Bol (syllables) while playing to keep track of the rhythm.

4. Increase Speed Gradually: Move from Thah → Dugun → Tigun Laya step by step.

5. Practice with a Lehra: A Lehra (melodic loop) in Teentala helps you stay in rhythm while

practicing.

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Conclusion

Teentala in Tigun Laya is an advanced rhythmic technique that enhances the beauty and complexity

of Tabla playing. It requires control, precision, and speed to execute correctly. By breaking each

beat into three smaller beats, Tigun Laya adds excitement to performances and makes the rhythm

more energetic.

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