Tabla Glossary

Essential terminology for tabla and Hindustani classical rhythm.

Anatomy

Syahi: Black tuning paste on the center of the dayan that stabilizes pitch and tone.; Used in: Construction, Biomechanics, and Ergonomics, Complete Instrument Science and Construction, Complete Tabla Acoustics, Listening, and Recording, Master Craftsmen and Instrument Selection, Modern Innovations in Tabla, What Tabla Is and Why It Matters
Maidan: Middle playing area between rim and syahi that produces resonant tones like Tin.
Kinar: Outer rim area producing sharp strokes like Na and Ta.
Gajra: Woven rim ring that anchors the head and helps distribute tension.
Baddhi: Long leather strap that laces the drum and controls tension.
Gatta: Wooden blocks under the strap used to adjust tuning.; Used in: Complete Instrument Science and Construction
Dagga: Another name for the bayan (bass drum).
Indri: Ring cushion that supports the drum and prevents rolling.
Hathodi: Small tuning hammer used to adjust tension around the gajra.
Bayan(Bayaan): The larger bass drum of the tabla pair, played with the left hand for resonance and pitch bends.; Used in: Instrumental Sangat and Aesthetics, Light Classical Accompaniment: Thumri, Ghazal, and Laggi, Generative Forms: Kaida, Rela, and Peshkar, Lucknow, Farukhabad, and Benares: The Eastern Schools, Organological Transition: Pakhawaj to Tabla, Punjab Gharana and Contemporary Synthesis, Construction, Biomechanics, and Ergonomics, The Bol System: Phonetics, Sound, and Stroke Classification, Complete Instrument Science and Construction, Complete Tabla Acoustics, Listening, and Recording, Master Craftsmen and Instrument Selection, Modern Innovations in Tabla, Stage Presence and Professional Etiquette, Speed, Precision, and Injury Prevention, What Tabla Is and Why It Matters
Dayan(Dayaan): The smaller treble drum of the tabla pair, tuned to the tonic and played with the right hand.; Used in: Instrumental Sangat and Aesthetics, Generative Forms: Kaida, Rela, and Peshkar, Organological Transition: Pakhawaj to Tabla, Punjab Gharana and Contemporary Synthesis, Construction, Biomechanics, and Ergonomics, The Bol System: Phonetics, Sound, and Stroke Classification, Complete Instrument Science and Construction, Complete Tabla Acoustics, Listening, and Recording, Master Craftsmen and Instrument Selection, Modern Innovations in Tabla, Stage Presence and Professional Etiquette, Speed, Precision, and Injury Prevention, What Tabla Is and Why It Matters

Bols

Na: Open rim stroke on the dayan with a clear, bright tone.
Ta: Closed rim stroke on the dayan; short, dry sound.
Tin: Resonant center stroke on the dayan with a singing pitch.; Used in: Master Craftsmen and Instrument Selection, What Tabla Is and Why It Matters
Tun: Open center stroke with full resonance.; Used in: Master Craftsmen and Instrument Selection
Te: Closed stroke producing a short, muted sound.
Re: Closed follow-up stroke often paired with Te.
Tite: Rapid doublet (ti-te) used in fast phrases.
Dha: Na + Ge together; full, resonant composite.
Dhin: Tin + Ge together; resonant composite.; Used in: What Tabla Is and Why It Matters
Ge: Open bass stroke on the bayan.
Ka: Closed bass stroke; short and dry.

Concepts

Sam: First beat of the cycle and main point of resolution; most phrases aim to land here.; Used in: Global Fusion and Cross‑Cultural Collaboration, Instrumental Sangat and Aesthetics, Kathak Dance Accompaniment, Light Classical Accompaniment: Thumri, Ghazal, and Laggi, Principles of Sangat: The Invisible Art, Forms, Grammar, and Fixed Compositions, Generative Forms: Kaida, Rela, and Peshkar, Courts, Patronage, and the Gharana System, Delhi and Ajrada: The Western Schools, From Gharana to Classroom: How Formal Training Reshaped Tabla Education, Essential Bibliography for Tabla Studies, Global Tabla Communities, Historical Development and Gharana Emergence, Lucknow, Farukhabad, and Benares: The Eastern Schools, Organological Transition: Pakhawaj to Tabla, Origins and Historical Evidence, Punjab Gharana and Contemporary Synthesis, Tabla in Contemporary Global Music, Women in Tabla: History, Visibility, and the Present Moment, Construction, Biomechanics, and Ergonomics, The Bol System: Phonetics, Sound, and Stroke Classification, Complete Instrument Science and Construction, Complete Tabla Acoustics, Listening, and Recording, Master Craftsmen and Instrument Selection, Modern Innovations in Tabla, How to Structure a Solo, Lehra and Temporal Synchronization, Stage Presence and Professional Etiquette, Sadhana and Riyaz: Practice as a Long Conversation, Speed, Precision, and Injury Prevention, How to Learn Tabla: Complete Guide for 2026, Learning Pathways and the Guru‑Shishya Tradition, Visharad and Formal Certification: A Complete Guide for Tabla Students, What Tabla Is and Why It Matters, Layakari and Tihai Construction, Tala Architecture, Structure, and Syllabics, Tala Reference: Common to Rare
Khali: The 'empty' section marked by a wave (often without bayan), helping listeners track the cycle.; Used in: Kathak Dance Accompaniment, Light Classical Accompaniment: Thumri, Ghazal, and Laggi, How to Structure a Solo, Lehra and Temporal Synchronization, How to Learn Tabla: Complete Guide for 2026, What Tabla Is and Why It Matters, Tala Architecture, Structure, and Syllabics, Tala Reference: Common to Rare
Tali: Clapped beat marking a strong point in the cycle.
Avartan: One complete cycle of a tala from sam to the next sam.
Matra: Basic pulse unit of the cycle; beats in a tala.; Used in: How to Structure a Solo, The Solo Tabla Tradition, Tala Architecture, Structure, and Syllabics
Theka: Standard bol pattern that outlines a tala and keeps it recognizable.; Used in: Global Fusion and Cross‑Cultural Collaboration, Instrumental Sangat and Aesthetics, Kathak Dance Accompaniment, Light Classical Accompaniment: Thumri, Ghazal, and Laggi, Principles of Sangat: The Invisible Art, Generative Forms: Kaida, Rela, and Peshkar, Delhi and Ajrada: The Western Schools, Essential Bibliography for Tabla Studies, Lucknow, Farukhabad, and Benares: The Eastern Schools, The Bol System: Phonetics, Sound, and Stroke Classification, Complete Tabla Acoustics, Listening, and Recording, Modern Innovations in Tabla, How to Structure a Solo, Lehra and Temporal Synchronization, Stage Presence and Professional Etiquette, The Solo Tabla Tradition, Sadhana and Riyaz: Practice as a Long Conversation, Speed, Precision, and Injury Prevention, Visharad and Formal Certification: A Complete Guide for Tabla Students, Layakari and Tihai Construction, Tala Architecture, Structure, and Syllabics, Tala Reference: Common to Rare
Laya: Tempo or rhythmic speed of the performance.
Layakari: Playing with subdivisions while staying inside the tala framework.; Used in: Instrumental Sangat and Aesthetics, Kathak Dance Accompaniment, Delhi and Ajrada: The Western Schools, Lehra and Temporal Synchronization, Visharad and Formal Certification: A Complete Guide for Tabla Students, Layakari and Tihai Construction
Vibhag: Groupings of beats that divide a tala.; Used in: Principles of Sangat: The Invisible Art, Tala Architecture, Structure, and Syllabics, Tala Reference: Common to Rare
Zarb: A beat or stroke unit used in some tala contexts.
Graha: The point in the cycle where a composition begins.
Atit: A phrase that begins before sam and resolves on sam.
Anagat: A phrase that begins after sam.
Lehra: Melodic cycle that supports tabla practice and solos.; Used in: Master Craftsmen and Instrument Selection, How to Structure a Solo, Lehra and Temporal Synchronization, Stage Presence and Professional Etiquette, Speed, Precision, and Injury Prevention, Layakari and Tihai Construction, Tala Architecture, Structure, and Syllabics
Nagma: Another word for lehra.; Used in: Lehra and Temporal Synchronization
Bol: Spoken syllables that represent tabla strokes and their articulation.; Used in: Global Fusion and Cross‑Cultural Collaboration, Instrumental Sangat and Aesthetics, Kathak Dance Accompaniment, Light Classical Accompaniment: Thumri, Ghazal, and Laggi, Principles of Sangat: The Invisible Art, Forms, Grammar, and Fixed Compositions, Generative Forms: Kaida, Rela, and Peshkar, Courts, Patronage, and the Gharana System, Delhi and Ajrada: The Western Schools, From Gharana to Classroom: How Formal Training Reshaped Tabla Education, Essential Bibliography for Tabla Studies, Global Tabla Communities, Historical Development and Gharana Emergence, Lucknow, Farukhabad, and Benares: The Eastern Schools, Organological Transition: Pakhawaj to Tabla, Origins and Historical Evidence, Punjab Gharana and Contemporary Synthesis, Seminal Academic Publications in Tabla, Tabla in Contemporary Global Music, Women in Tabla: History, Visibility, and the Present Moment, Construction, Biomechanics, and Ergonomics, The Bol System: Phonetics, Sound, and Stroke Classification, Complete Tabla Acoustics, Listening, and Recording, Master Craftsmen and Instrument Selection, Modern Innovations in Tabla, How to Structure a Solo, Lehra and Temporal Synchronization, The Solo Tabla Tradition, Sadhana and Riyaz: Practice as a Long Conversation, Speed, Precision, and Injury Prevention, How to Learn Tabla: Complete Guide for 2026, Learning Pathways and the Guru‑Shishya Tradition, Visharad and Formal Certification: A Complete Guide for Tabla Students, What Tabla Is and Why It Matters, Layakari and Tihai Construction, Tala Architecture, Structure, and Syllabics, Tala Reference: Common to Rare

Forms

Tihai: A phrase repeated three times to land on sam.; Used in: Global Fusion and Cross‑Cultural Collaboration, Instrumental Sangat and Aesthetics, Kathak Dance Accompaniment, Light Classical Accompaniment: Thumri, Ghazal, and Laggi, Principles of Sangat: The Invisible Art, Complete Tabla Composition Forms Guide, Forms, Grammar, and Fixed Compositions, Generative Forms: Kaida, Rela, and Peshkar, Courts, Patronage, and the Gharana System, Delhi and Ajrada: The Western Schools, From Gharana to Classroom: How Formal Training Reshaped Tabla Education, Essential Bibliography for Tabla Studies, Global Tabla Communities, Historical Development and Gharana Emergence, Lucknow, Farukhabad, and Benares: The Eastern Schools, Organological Transition: Pakhawaj to Tabla, Origins and Historical Evidence, Punjab Gharana and Contemporary Synthesis, Tabla in Contemporary Global Music, Women in Tabla: History, Visibility, and the Present Moment, Construction, Biomechanics, and Ergonomics, The Bol System: Phonetics, Sound, and Stroke Classification, Complete Instrument Science and Construction, Complete Tabla Acoustics, Listening, and Recording, Master Craftsmen and Instrument Selection, Modern Innovations in Tabla, How to Structure a Solo, Lehra and Temporal Synchronization, Solo Performance Structure and Taxonomy, The Solo Tabla Tradition, Sadhana and Riyaz: Practice as a Long Conversation, How to Learn Tabla: Complete Guide for 2026, Learning Pathways and the Guru‑Shishya Tradition, Visharad and Formal Certification: A Complete Guide for Tabla Students, What Tabla Is and Why It Matters, Layakari and Tihai Construction, Tala Architecture, Structure, and Syllabics, Tala Reference: Common to Rare
Kaida: Theme-and-variation form where variations follow strict rules of the theme.; Used in: Global Fusion and Cross‑Cultural Collaboration, Complete Tabla Composition Forms Guide, Forms, Grammar, and Fixed Compositions, Generative Forms: Kaida, Rela, and Peshkar, Delhi and Ajrada: The Western Schools, Essential Bibliography for Tabla Studies, Lucknow, Farukhabad, and Benares: The Eastern Schools, Tabla Gharana Complete Guide, The Bol System: Phonetics, Sound, and Stroke Classification, How to Structure a Solo, Lehra and Temporal Synchronization, Solo Performance Structure and Taxonomy, The Solo Tabla Tradition, Sadhana and Riyaz: Practice as a Long Conversation, Speed, Precision, and Injury Prevention, How to Learn Tabla: Complete Guide for 2026, Learning Pathways and the Guru‑Shishya Tradition, What Tabla Is and Why It Matters, Tala Reference: Common to Rare
Rela: Fast, flowing form emphasizing speed and clarity.; Used in: Complete Tabla Composition Forms Guide, Forms, Grammar, and Fixed Compositions, Generative Forms: Kaida, Rela, and Peshkar, Essential Bibliography for Tabla Studies, Punjab Gharana and Contemporary Synthesis, Tabla Gharana Complete Guide, How to Structure a Solo, Solo Performance Structure and Taxonomy, The Solo Tabla Tradition, Sadhana and Riyaz: Practice as a Long Conversation, How to Learn Tabla: Complete Guide for 2026, What Tabla Is and Why It Matters
Peshkar: Slow opening form that sets tone and tempo.; Used in: Generative Forms: Kaida, Rela, and Peshkar, Historical Development and Gharana Emergence, How to Structure a Solo, Solo Performance Structure and Taxonomy, The Solo Tabla Tradition
Gat: Fixed composition used as a clear statement or ending.; Used in: Complete Tabla Composition Forms Guide, Forms, Grammar, and Fixed Compositions, Punjab Gharana and Contemporary Synthesis, How to Structure a Solo, Solo Performance Structure and Taxonomy
Paran: Composition with pakhawaj-style bols and weight.; Used in: Kathak Dance Accompaniment, Complete Tabla Composition Forms Guide, Forms, Grammar, and Fixed Compositions, Historical Development and Gharana Emergence, Organological Transition: Pakhawaj to Tabla, Tabla Gharana Complete Guide, How to Structure a Solo, Solo Performance Structure and Taxonomy, The Solo Tabla Tradition
Chakradar: A tihai whose phrase itself contains smaller tihais.; Used in: Forms, Grammar, and Fixed Compositions
Tukra: Short fixed composition, often to mark a section.; Used in: Complete Tabla Composition Forms Guide, Forms, Grammar, and Fixed Compositions, How to Structure a Solo, Solo Performance Structure and Taxonomy, What Tabla Is and Why It Matters, Tala Reference: Common to Rare
Mukhda: Opening phrase that identifies a composition or theme.

Instruments

Pakhawaj: Barrel drum ancestor of tabla, used in dhrupad.; Used in: Forms, Grammar, and Fixed Compositions, Lucknow, Farukhabad, and Benares: The Eastern Schools, Organological Transition: Pakhawaj to Tabla, Origins and Historical Evidence, Master Craftsmen and Instrument Selection, How to Structure a Solo, Solo Performance Structure and Taxonomy, The Solo Tabla Tradition, Tala Reference: Common to Rare

Styles

Gharana: A lineage or school with shared repertoire and style.; Used in: Principles of Sangat: The Invisible Art, Courts, Patronage, and the Gharana System, Delhi and Ajrada: The Western Schools, Essential Bibliography for Tabla Studies, Historical Development and Gharana Emergence, Lucknow, Farukhabad, and Benares: The Eastern Schools, Punjab Gharana and Contemporary Synthesis, Seminal Academic Publications in Tabla, Tabla Gharana Complete Guide, The Bol System: Phonetics, Sound, and Stroke Classification, Master Craftsmen and Instrument Selection, How to Structure a Solo, Solo Performance Structure and Taxonomy, The Solo Tabla Tradition, Learning Pathways and the Guru‑Shishya Tradition, Visharad and Formal Certification: A Complete Guide for Tabla Students
Baaj: Playing style or technique associated with a lineage.
Bandh Baaj: Closed style with controlled resonance and crisp articulation.
Khula Baaj: Open style with fuller resonance and broader tone.
Purab Ang: Eastern style traits, often more powerful and expansive.
Paschim Ang: Western style traits, often crisp and tightly articulated.

Taals

Pancham (5)(Pancham Taal, Pancham): A rare 5-beat cycle (2+3 structure) representing one of the shortest taals in Hindustani music. Its asymmetric feel creates a unique lilting quality suited to experimental compositions.; Used in: Tala Reference: Common to Rare
Dadra (6)(Dadra Taal, Dadra): A popular 6-beat cycle (3+3 structure) widely used in semi-classical, folk, and light music. Its simple two-vibhag structure with sam and khali makes it accessible for beginners.; Used in: Light Classical Accompaniment: Thumri, Ghazal, and Laggi, Tala Reference: Common to Rare
Rupak (7)(Rupak Taal, Rupak): A distinctive 7-beat cycle (3+2+2) uniquely beginning with khali rather than sam. This asymmetric structure creates an elegant, dance-like quality popular in light classical music.; Used in: Lehra and Temporal Synchronization, Tala Reference: Common to Rare
Pashto (7)(Pashto Taal, Pashto): A 7-beat cycle (3+2+2) with Afghan folk influences, distinct from Rupak in its theka pattern. Its energetic feel suits compositions with Central Asian character.
Keherwa (8)(Keherwa Taal, Keherwa): An 8-beat cycle (4+4) ubiquitous in folk, bhajan, qawwali, and Bollywood music. Its simple symmetric structure and driving groove make it the most versatile light taal.
Dhumali (8)(Dhumali Taal, Dhumali): An ornate 8-beat cycle (4+4) similar to Keherwa but with more elaborate theka ornamentation. Used in light classical contexts requiring rhythmic sophistication.
Matta Taal (9)(Matta Taal, Matta): A balanced 9-beat cycle (3+3+3) with symmetric three-vibhag structure. Its uncommon odd-number feel provides interesting rhythmic possibilities for compositions.; Used in: Tala Reference: Common to Rare
Jhap Sawari (9)(Jhap Sawari Taal, Jhap Sawari): A 9-beat asymmetric cycle (2+3+2+2) combining elements of Jhaptaal. Its complex vibhag pattern creates sophisticated rhythmic interplay for advanced compositions.
Jhaptaal (10)(Jhaptaal): An elegant 10-beat cycle (2+3+2+3) prized for its asymmetric beauty. One of the six most common taals, used extensively in khayal and instrumental music.
Sooltaal (10)(Sooltaal): A 10-beat cycle (2+2+2+2+2) from Dhrupad and Pakhawaj traditions. Its five equal vibhags create a stately, measured quality suited to devotional compositions.; Used in: Tala Reference: Common to Rare
Rudra Taal (11)(Rudra Taal, Rudra): An energetic 11-beat cycle (5+2+2+2) named after Lord Rudra (Shiva). Its unusual prime-number length and asymmetric structure create powerful rhythmic tension.
Ektaal (12)(Ektaal): A 12-beat cycle (2+2+2+2+2+2) essential for slow and medium tempo khayal. Its six vibhags with alternating tali-khali pattern allow expansive melodic development.; Used in: What Tabla Is and Why It Matters, Tala Reference: Common to Rare
Chautaal (12)(Chautaal): A 12-beat cycle (2+2+2+2+2+2) from Dhrupad tradition, more forceful than Ektaal. Its powerful theka suits the majestic character of Dhrupad compositions.; Used in: Tala Reference: Common to Rare
Khemta (12)(Khemta Taal, Khemta): A 12-beat cycle (3+3+3+3) associated with Bengali folk music. Its four equal three-beat vibhags create a distinctive lilting quality different from Ektaal.
Deepchandi (14)(Deepchandi Taal, Deepchandi): A 14-beat cycle (3+4+3+4) primarily used in Thumri and semi-classical forms. Its gentle asymmetry supports the romantic, expressive nature of light classical music.; Used in: Tala Reference: Common to Rare
Dhamar (14)(Dhamar Taal, Dhamar): A 14-beat cycle (5+2+3+4) deeply associated with Dhrupad tradition and Hori compositions. Its unique first vibhag of five beats creates a majestic, processional quality.; Used in: Tala Reference: Common to Rare
Jhumra (14)(Jhumra Taal, Jhumra): A 14-beat cycle (3+4+3+4) used in slow khayal and thumri. Similar to Deepchandi but with different theka, creating a more meditative, spacious atmosphere.
Ada Chautaal (14)(Ada Chautaal): A 14-beat Dhrupad cycle with seven vibhags of two beats each. Its dense vibhag structure creates complex navigational challenges suited to advanced performers.
Pancham Sawari (15)(Pancham Sawari Taal, Pancham Sawari): A complex 15-beat cycle (3+4+4+4) with rich mathematical structure. Its stately progression suits elaborate solo performances and challenging compositions.; Used in: Tala Reference: Common to Rare
Gajajhampa (15)(Gajajhampa Taal, Gajajhampa): A 15-beat cycle (4+4+3+4) whose name means 'elephant gait.' Its majestic, lumbering quality evokes the dignified movement of elephants in procession.
Teental (16)(Teental): The most common 16-beat cycle (4+4+4+4) in Hindustani music. Its perfect symmetry and clear structure make it the foundation for most khayal and instrumental performances.; Used in: Lehra and Temporal Synchronization, What Tabla Is and Why It Matters, Tala Architecture, Structure, and Syllabics, Tala Reference: Common to Rare
Tilwada (16)(Tilwada Taal, Tilwada): A 16-beat cycle (4+4+4+4) used primarily for slow, elaborate vocal compositions. Though structurally similar to Teental, its lyrical theka creates a different aesthetic.; Used in: Tala Reference: Common to Rare
Addha (16)(Addha Taal, Addha): A 16-beat cycle (4+4+4+4) used in Thumri with distinctive lilting emphasis patterns. Its swaying quality supports the romantic expressiveness of light classical forms.
Sitarkhani (16)(Sitarkhani Taal, Sitarkhani): A 16-beat Punjabi folk taal (4+4+4+4) featuring characteristic gaps in its theka. Popular in light classical music and associated with the Punjab region.
Panjabi (16)(Panjabi Taal, Panjabi): An energetic 16-beat folk taal (4+4+4+4) from Punjab. Its driving rhythm and full theka make it ideal for dance accompaniment and celebratory music.
Shikhar Taal (17)(Shikhar Taal, Shikhar): A rare 17-beat cycle (6+6+5) whose prime-number length creates unique rhythmic challenges. Used for complex solo performances demonstrating mathematical mastery.; Used in: Tala Reference: Common to Rare