Vocabulary
The Tabla Glossary
A plain-spoken reference to the vocabulary of tabla and Hindustani rhythm — the taals, bols, forms, and concepts a player meets in daily riyaz. Every definition is drawn from the reference material inside Tabla Focus.
Definitions reviewed July 26, 2026Definitions are checked against the published tabla literature. See the sourcesErrors in a definition are corrected on notice. Report an error.
Every term here is practice material in Tabla Focus.See the app
147 terms
Concepts
- Aad LayaThe 3-over-2 ratio — phrasing three units across two beats, off the grid by design.
- AnagatAn entry that starts before beat 1 and resolves onto it, carrying tension across the turn.
- Ati DrutThe extreme fast band — maximum speed with no recovery time between strokes.
- Ati VilambitThe extreme slow band, where a single cycle can stretch toward a minute or more.
- AtitAn entry that begins after beat 1 has passed, catching the cycle from behind.
- AvartanOne complete pass through the cycle, from beat 1 to the next beat 1.
- BarabarBase rate — one unit per beat, the reference layer all speed ratios are measured from.
- Biad LayaThe 7-over-4 ratio — seven units across four beats, the densest standard crooked layer.
- BolA spoken syllable standing for a stroke or stroke combination — the language tabla is taught in.
- Bol BantRedistributing a fixed phrase's syllables across the cycle — regrouping without recomposing.
- ChalanThe characteristic gait of a composition or style — how material moves, beyond the bare text.
- ChaugunQuadruple rate — four units per beat, the standard fast development layer.
- DrutFast tempo — compressed beat spacing that rewards economy of motion.
- DugunDouble rate — two units per beat, the first and most used speed ratio.
- GrahaWhere a composition enters relative to beat 1 — on it, before it, or after it.
- JatiThe count a phrase groups in — threes, fours, fives, sevens or nines to the matra.
- JugalbandiA duet of equals — two soloists sharing one stage, alternating and combining.
- KhaliThe waved, unstressed division of the cycle — shown with a turn of the hand, not a clap.
- Kuad LayaThe 5-over-4 ratio — five units across four beats, between base rate and the 3:2 layer.
- LayaThe rate of the pulse — slow, medium, or fast — and the sense of tempo that governs a performance.
- LayakariThe art of playing rates and proportions against the cycle — subdivision as expression.
- LehraThe looped melody that marks the cycle during solo tabla and practice.
- Madhya LayaMedium tempo — the middle band where theka breathes without needing heavy fill.
- MatraThe single counting beat of a cycle — the unit everything else is measured against.
- NagmaThe Urdu-side name for the looped cycle-marking melody used in solo and practice.
- NikasThe exact physical production of a stroke — finger, contact point, pressure, and release.
- PadhantReciting compositions aloud in their syllables while marking the tala by hand.
- PaltaA variation derived from a theme under strict rules — the working unit of theme-and-variation forms.
- PrakarA recognized variant — of a theka, a phrase, or a form — within the same underlying identity.
- RiyazDaily disciplined practice — the tradition's word for the structured work behind command.
- SamBeat 1 of the cycle — the point of resolution where phrases and compositions land.
- SangatThe accompanist's craft — supporting a soloist or dancer while keeping the cycle audible.
- Sawal-JawabQuestion-and-answer exchange — one phrase posed, another answering its shape.
- TaliA clapped, stressed division of the cycle other than beat 1.
- TalimSystematic instruction under a teacher — technique, repertoire, and judgment transmitted over years.
- TayariTechnical readiness — the fluency, speed, and stamina that let ideas arrive unobstructed.
- ThekaThe fixed pattern of strokes that states a cycle and identifies it to the ear.
- TigunTriple rate — three units per beat, a 3:1 layer over the pulse.
- VibhagOne of the counted sections a cycle divides into, each opening on a clap or a wave.
- VilambitSlow tempo — the cycle stretched wide so each beat carries subdivided detail.
- VistarGradual expansion of material — growing an idea's length and density across cycles.
- ZarbAn accented stroke point — where weight and attack fall within the rhythmic line.
Forms
- AamadThe Kathak entrance composition — arrival announced in stately drum language.
- Bedam TihaiA gapless threefold cadence — three statements run continuously into beat 1.
- ChakradharA tripled composition — the whole piece, tihai included, stated three times to land on beat 1.
- Chakradhar ParanA heavy pakhawaj-language composition tripled to land on beat 1 — climax repertoire.
- Damdar TihaiA gapped threefold cadence — pauses between the three statements are part of the count.
- Farmaishi ChakradharA tripled showpiece engineered so the first internal landing already strikes beat 1.
- GatA fixed composed piece with its own internal design — presented, not developed.
- Gat KaidaA hybrid form — a composed piece's theme submitted to systematic variation.
- KaidaThe disciplined theme-and-variation form — a theme's own material expanded under strict rules.
- Kamali ChakradharThe strictest tripled form — three specified internal strokes must all strike beat 1.
- LadiA chained sequence — linked variations rolling one into the next without full stops.
- LaggiThe light-genre groove interlude — fast, playful patterns lifting a song's energy.
- MohraA compact stock figure returning to beat 1 — a connector, smaller than a showpiece.
- MukhdaA short lead-in phrase that approaches beat 1 — the smallest cadential gesture.
- NauhakkaA ninefold cadence — nine statements separated by eight equal gaps, landing on beat 1.
- PallaOne statement of the repeated phrase inside a threefold or tripled cadence.
- ParanA heavy composition in pakhawaj language — open, weighty bols built for power.
- PeshkarThe expansive opening movement of a solo — slow, exploratory, and improvised over the cycle.
- RelaThe torrent form — rolling stroke-clusters cycled at speed into a continuous stream.
- TihaiA phrase stated three times, engineered so the last stroke lands exactly on beat 1.
- TukraA short fixed showpiece that drives to a threefold cadence — compact, composed, emphatic.
- UthaanA declamatory opening — a rising fixed passage that launches a solo.
Taals
- Ada ChautaalA 14-beat khayal cycle in seven pairs — dense signposts, crooked by design.
- AddhaA swung 16-beat cycle for thumri — laid-back theka with a lilt built in.
- Brahma TaalA 28-beat giant — four sevens, among the longest cycles in living use.
- Chartal Ki SawariAn 11-beat sawari — a showpiece cycle counted in irregular internal subgroups.
- ChautaalThe 12-beat dhrupad cycle — the khayal twelve's skeleton spoken in pakhawaj language.
- DadraThe everyday 6-beat cycle — two threes, the light genres' universal frame.
- DeepchandiThe stately 14-beat thumri cycle — 3+4+3+4 with a broad, unhurried swing.
- DhamarThe 14-beat cycle of Hori-dhrupad — 5+2+3+4, angular and ancient in feel.
- DhumaliAn 8-beat cycle with a rolling, ornamented theka — the groove cycle's dressier cousin.
- EktaalThe 12-beat workhorse of khayal — six pairs, two waves, at home from very slow to fast.
- GajajhampaA 15-beat cycle in 4+4+3+4 — the short third stride breaks the symmetry.
- Jhap SawariA crooked 9-beat cycle — 2+3+2+2, a ten-beat feel with one beat stolen.
- JhaptaalThe classic 10-beat cycle — 2+3+2+3, compact, asymmetric, and central to khayal.
- JhumraA slow 14-beat khayal cycle — 3+4+3+4 with a dense, flowing theka for wide beats.
- KeherwaThe universal 8-beat groove cycle — 4+4, from folk and bhajan to film and stage.
- KhemtaA 12-beat cycle in four threes — a waltzing lilt used in light and semi-classical song.
- Matta TaalA 9-beat cycle in three even threes — the symmetric route through an odd number.
- PanchamA compact 5-beat cycle — 2+3, the shortest odd frame in common use.
- Pancham SawariA 15-beat sawari — 3+4+4+4 with an elaborate, celebrated theka.
- PanjabiA 16-beat cycle with a sprung, Punjab-flavored theka — kin to the swung light talas.
- PashtoA 7-beat cycle from the northwest — sparse, sprung theka over a 3+2+2 frame.
- Rudra TaalAn 11-beat cycle opening with a five-beat stride — heavyweight odd-cycle territory.
- RupakThe 7-beat cycle that begins with a wave — 3+2+2, elegantly off-balance from beat 1.
- Shikhar TaalA 17-beat summit cycle — 6+6+5, long-form counting at the repertoire's edge.
- SitarkhaniA lilting 16-beat cycle with rests woven into its theka — light-classical territory.
- SooltaalA 10-beat pakhawaj cycle in five even pairs — dhrupad's brisk marching frame.
- TeentaalThe default 16-beat cycle — four even vibhags, the reference frame of Hindustani rhythm.
- TilwadaA slow-tempo 16-beat cycle for khayal — the default frame's skeleton with a different gait.
- TivraA 7-beat pakhawaj cycle — emphatic, open language over the 3+2+2 frame.
Bols
- DhaThe signature composite stroke — bright edge tone and open bass sounding as one.
- DhageA two-stroke composite word — the full both-hands attack flowing into an open bass.
- Dhere DhereA rolling two-hand figure — paired closed strokes with bass, cycling as continuous texture.
- DhinOpen treble-plus-bass composite with the soft inner tone — the ringing heart of many thekas.
- GeThe open bass stroke — the left hand's voice, and the pitch-bending engine of the pair.
- GhinAn open bass syllable — the ringing left-hand voice inside rolling composite phrases.
- GhissaA dragged stroke — a fingertip slides across the head for a rising vocal smear.
- KaThe closed bass slap — flat left hand on the skin, all attack and no ring.
- KatA full flat-hand bass slap — the heaviest of the closed left-hand strokes.
- NaThe bright ringing edge stroke of the treble drum — tabla's most identifying single sound.
- ReThe quick closed partner stroke that follows Te in paired and rolling figures.
- TaThe khali-side edge voice of the treble drum — usually the same physical stroke as Na.
- TakA crisp closed accent from the treble side, often doubled with the bass hand in fast text.
- TeA closed stroke pressed into the black patch — dry, weighted, and non-ringing.
- TinA soft open treble stroke on the bare skin between patch and rim — the khali voice of Dhin.
- TirekiteThe four-stroke rolling cluster — alternating closed strokes across both drums at speed.
- TiteA two-stroke closed figure on the treble drum — the basic cell of fast articulation.
- TunThe open bell tone from the center of the black patch — the treble drum's deepest ringing voice.
Anatomy
- BaddhiThe long hide lacing that zig-zags down the shell, holding and tuning the head.
- BayanThe bass drum of the pair, played by the left hand, with a bendable low voice.
- ChantiAn alternate name for the rim zone of the treble head — the crisp outer striking ring.
- DaggaA common name for the bass drum of the pair, used interchangeably with its formal name.
- DayanThe treble drum of the pair, played by the right hand and tuned to the tonic.
- GajraThe woven braid around the head's edge that anchors the whole tensioning system.
- GattaThe wooden dowels under the straps of the treble drum — its coarse tuning control.
- GudriThe padded base ring — cushioning, grip, and playing angle for each drum.
- HathodiThe small hammer used for tuning — tapping rim and blocks to raise or lower pitch.
- IndriThe ring cushion each drum sits on, setting height, tilt, and stability.
- KinarThe outer skin ring at the rim — the crisp zone where the sharp treble strokes strike.
- MaidanThe open ring of bare skin between the black patch and the rim — home of the sustained tones.
- MasalaThe paste of iron particles, starch, and gum from which the black patch is built.
- PudiThe complete drumhead assembly — layered skins, playing zones, and black patch together.
- SyahiThe black tuning patch at the head's center — why the drum rings at a definite pitch.
- TasmaThe rawhide lacing material — the strap-work that binds head to shell.
Styles
- Ajrada GharanaThe laya specialists' school — Delhi's sibling, famed for crooked ratios and intricate kaidas.
- BaajA school's characteristic sound and approach — how strokes, resonance, and phrasing are handled.
- Bandh BaajThe closed manner — crisp finger strokes, controlled resonance, transparency over wash.
- Benares GharanaThe powerhouse eastern school — open resonance, mighty bass work, and its own solo format.
- Delhi GharanaThe oldest school — fountainhead of the closed two-finger style and the kaida tradition.
- Farrukhabad GharanaThe composition-rich eastern school — celebrated for gats, expansive solos, and range.
- GharanaA named lineage of players — repertoire, technique, and taste transmitted teacher to student.
- Khula BaajThe open manner — released resonance, full-handed strokes, the drums allowed to sing.
- Lucknow GharanaThe dance-fed eastern school — source of the gat tradition and Kathak's drumming language.
- Paschim AngThe western stylistic family — Delhi and Ajrada, defined by closed finger technique.
- Punjab GharanaThe pakhawaj-descended school — muscular open playing and fearless rhythmic mathematics.
- Purab AngThe eastern stylistic family — Lucknow, Farrukhabad, and Benares grouped by shared inheritance.
- Sangat BaajPlaying built for support — theka-centered, responsive, and calibrated to the soloist.
- Solo BaajPlaying built for the spotlight — solo forms, tempo architecture, and cadential planning.
Instruments
- HarmoniumThe bellows-driven reed keyboard — the everyday melodic partner in accompaniment and practice.
- Lehra MachineAn electronic stand-in for a live melody loop — steady cycles on demand for practice.
- PakhawajThe ancient barrel drum of dhrupad — tabla's ancestor in repertoire and language.
- SarangiThe bowed short-necked fiddle — the classic voice-like partner of vocal and solo tabla.
- Tabla TarangNot a single instrument but a tuned set — a semicircle of dayans, each pitched to a note of the raag, played melodically.
- TanpuraThe long-necked drone — the tonal ground every performance, and every tuning, rests on.