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.
UPDATED:
July 10, 2009