Preface

The Tablainstrumentplaysan essentialrole io displayingmusicand helpstbe vocalists,

instrumentalistsand the dancersto displaytheir arts in time and rhythm. Tabla is not much
attractiveinstrumentif playedindependently. But the tabla players please the audiencewith
double,triple and four speedsof Thekaswith Moharas Tehai, Pushkara,Rela. Lagi & Ladi
Paransand Utbansetc. Playingof Tabla independenrlyis more difficult tban if it is playcdia
the group of musicianswith orchestra..The playerhas to make a good practice to play the
instrum€ntindependentlyon the stage.
Wc havegivenThekasof Tala in different types, doubles, triples and fourths speed of
.variousThekas Kayadas,Parans,Lagis,Ladis and Relasin veryeasyand clear
with Peshkaras,
Tvay. The readercan makegood practiceon this instrument.

WeÈavealso giventhe historyof Tabla rvith their Gharanas and their stylesof playilg
Tabla. If tbe readerbeforepracticeaccordingto this book tries to go through the first book on
Tabla,the Tabla playercan get sufficientknorvledgeof playing Bols and Thekasand tuning tbe
instrument.
I am confidert that this book will be a greathelp to those who are easer to practise
Tabla for AdvanceCourse.

VeeranwaliBharvan, Ram Av{ar Veer

M-24, Kirti Nagar, Sangeet Achar.va
New Delhi-ll00l5
 Contents
l. History of Tabla
and h
Ten Rulesof Tabla, Gharanasof Tabla-Delhi Ghrrana, PoorabGbarana,
danct
Lucknorv Gharana, Farukhabad Gharana, Banaras Gharana, Ajarada
of titl
Gharanaand PunjabGharana
Mrid:
2. Partsof Tabla
Tablt
Tuning of Tabla
ment
famil
4. Bolsof Tabla l0
tbem
Tirneand Rhythm instrt
13
Sam,Tali and Kbali, Tala Circle speed

6. How to PractiseTabla 20 But i

7. Deûnitionof rvordsusedin Tablaplaying

Hed
Thekasof Tabla with Deânitions 23 rules
Talateen,Tala Deepchandi,Tala Jhumera,Tala Dhamar, Tala Aada Chautal, 29
Ek Tala, Tala Jbap,Tala Sool,Tala Keharwa,Tala Dadra
9. Thekasof Talaswith Durgan,Tigan, Chaugan,Tihai, Peshakara,Lagi, Ladi,
Prakar,Mukhada,Kayada,and Parans.
Tala Dhamar-Z9 Tala Roopak (31) Tala kavvali(34) Tala Jhap(34) Tala
Ek Tala (3?) Char Tala (37) Tala Dhamar (39) Tala Deepchandi(40) Tala Kha
Aada Chautal (40) Teen Tala (45) Tala Talwara(47) Bols of 27 Thekas
Popular& UnpopularTalas (47) Tala Keharwa Do Tala Dadara, Roopak,
Teevara,Pasto,Mol, Nunsrak,Jbap Sool Fakhta, Kumbha,Ek Tala, Char
Tala, Khemta; Fardest, Aada Chautal, Dhamar, Deepchandi,Jhumera,
Chancha!,Teen, talwora, Punjabi,Ashtmangal.Pooran,Nakshatera.Asarani,
Sawari. Tab
way

way
 HISTORYOF TABLA

T hc per c u s s i o n i n s l ru m e n ts c a m e i n to practi ceeari i erthananyott€Imusi cal i nsi rument

songs and folk
hence this instrument remaine,l as the basic percussioninstrument. In folk
and
d a n c es Dhol' Dap h a a n d l v { ri d a n g w e re u s e d a sti i epercussi cni nstrumenl s.w i ththepassage
times too' the
popular in Clurts and Darbars' in these
of tirne rvhen the classicalsongs became
Dhrupad and Dhamar'Gayans'
Mridang and Pakharvajwere playe'Jwith
I nl3t hCen tu ry AD ,Ami rKh u s ro ,th e C hi efC ounci l l orofA l l auddi nK bi l zi i nvented
This ne$' instrÛ-
Pakharvajinto t$'o equal halves
Tabla, the nerv musicalinstruÛlentby dividing posi:ion in Royal
it could oot 'slt an')'
gles! \vâSplayed by placing it in front but un'fortunately rvith
Kavvals, Gazal G.1aks and tbe dancers
familiesof tbose days. It iirnit.o itself upto tbe
th e m . T hey of t enp e rfo rm e d th e i rp ro g ra mme sbeforethesol di ersetc.Tabl arvasthenrai n
instrumentof their perforrnances'

Now- a. da -v s th e T a b l a b a s a tta i n e d th eappreci abl eposi ti oni nstandardnusi cal scci eti es.
But in classicaldaocesil{ridang is still used'

A f t er t hei n v e n ti o n o ftb e T a b | a i n s tru meûti trtasmadepopul arbyU stadU ddarK l ran. old
to
out of the bols of N{ridang according
He did not produceany new bols but drervthem
rules of Talas.

Ten Rules of Talas

T heK ala ,l V l a rg ,K ri y a ,An g a ' G ra h a ' ! ati ' Laya' Y ati andP rastaïareconsi dered
essertial for the formation of Tala'
Tali and
one round of Ta|a- divided in }{3tras
t. Kala: Ka|ais the time taken in
K ha' i.
Maig'
2. Marg : Typc of playing Theka is calied
3. K r iy a:T h e p ra c ti c a l d i s p l a y o fT h e k aonTabl aorP akhaw aj i scaj l edK ri va.
4- Ang: T h e fo rma ti o n o fT h e k a v v i t hthei r\{atrasandB ol si scal l edA ng'
times the
is called Greh (Sam point). In olden
5. Graha : The starting point of a Theka in different
playing Theka and to express Sam Point
Tabla player shorvedtheir capability in
ways-Sam, Visam, Ateet and {naghat'
Sam point of Theka in first Matra. This
Sam : In ordinary way the Tabla players show
rvay is called Sam.
 Yisam : The playing of Theka by keepingSarnpoint hidden is called Visam.
Ateet aild Anaghat .' When Sam point is shown before the first Matra js called the Ateet
and r,vhenit is shorvn after the first matra it is called Anaghat.
6. In olden times 5 latis of Tala rverepopular and th: matras of Thekaschangedaccord-
ing to Jatis. Every Jati got a value of Laghu in different numbers. These rvere called Jatis.
7. K ala :T h e me th o d o f p l a y o f a o i nstrumenti scal l edK al aorthe A rtof di spl ayi ng.

8 Le;'a: Laya is the rhytbm which is usedat the tine of playing Theka.
9. Yatî: The method of showiogrbythm in different ways at the time of displaying
Theke is called Yati.
10. Prastar: The expansionof Thekas rvith the help of Tihai, Tukada, I{ohra, and
Paran to make it more attractive is called Prakar.
Each of the above Tala has been cxpresscdin 5 Jatis (c1t€gories). It means the number
of T alas populu.ra tth a tti m e c o n s i s te d T x 5 :35. TheFi veJa(i ss' creas fol l orvs:-
*ounn'
I î,lllli'' 3.ï#;.."u'
The value of matraschangesrvith the change of matras of Laghu but Èhands (bars)
remain tbe same. The Laghu matras are as follows :-
l. ChatsarJati 4 lr{atras
2. Tisar Jati -î Matras
3. Khand Jati 5 Matras
4. N{isritJati 7 \.{atras
5. Sankeern Jati 9 À{atras

GHARAN.{S OF TABLA
In nervTala systemthe name of evcry Tala, its matras, bols, bars and the numbers of
Tali-Khali bave been fixed. They are not chan-qedon the basis of Jatis norv. Some players
change the bols of Theka accordingto their need. But the remaining system of Theka remains
the same i.e. Teen Tala of l6 matras,4 bars,3 numbersof Tali and I of Khali etc.

DIFFERENT GHARAN.{S OF TABLA

Delhi Gltarana(Tabla): Ustad Uddav Khan rvas popular musician of Delhi Darbar
hencehe developedthe instrument with the assistance
of the Court. The style of playing and
the bols which he invented are called Delhi Baj.
The Delbi Baj attains the prominent position in the historical evolution of Tabla. Chanti
and Duggi play the essentialrole in playing this instrument and is mostly played rvith the 6rst
and secondfingersof right hand. Kayadas Pesbkasas, Guts and Rellas are mostly used.
Rest of the Bajs (Tabla Playing S1'stems)i.e. Poorva Baj, Lucknorv Gharana Baj,
Farukhabad Gharana Baj, Agra Gharana Baj and Punjab Gharana Baj etc. orve their origin to
D elhi B ai.
 parental source of all tbese Bajas'
tjstad Sidhar Khan was the
of Tabla about the disciples of ustad Sidhat
No reliable proofs are found in the history
Khan, Kallo Khan and Tullan Khan and three sons
Khan. only three disciplesnamed Roshan
the thirrJ unknown come in picture'
named BugaraKhan, Ghasit Khan anci
BugaraKhan
I
- ----)\-
.t
v Youngerson
Elder son
Ustad Gulab Kban
ustad sitab Khan I
Y
I Ustad MohammadKhan
.r. { \'t
Ustad ChhoteKale Khan
usàd gade UstadNazar .,,t
Kale Khan Ali Khan
Ustad GameKhan
U.'Bali BaksharKhan Inam Àli Khan
I

, _^--- ----l
i,. '
Disci-ple Son U' Nathu Khan
U. \{uneerKhan
ri
DisciPIe
, i u' Habibuddin
'
U. Ahmad u' Jtlllll Hussain
u ' Amir r r u Jù .r
-
Jan Tirkharva U' GulamHussain
U. ShamSuddin
ThethirdsonofUs{adSedharKhanisunknorvnbuthisdescendentshavelaidfoundation
ofsomeGharanas.Hehadthreesons-U.]r{akhuKhan,U.MauduKhanandUstad
Khan are the parentalstartersof PoorabGharana'
BaksuKhan. ustad l{audu Khan and Baksu
ChandKhanwastheyoungerbrotberofUstadSidharKhanwheredescendentsare
as follolvs:-
represented
U' ChandKhan
ù
Ustad Lilli MaseetKhan
i.
LangadeHusain Bakhsha
I
i- ' --
\
rV
Gha-r'eiKhan U' Nanhe Khan
I
Y
DisciPieU' JugnuKhan

Dis. U. MahboobKhao
I

ois. làOhutar GanesbGod Vole'

Dethi Gharanas'
All the aboveTabla piayersbelongto
 Poorab Gharane
The Khule Bols (Open Bols) are rnainly used in this Baj and paran,
Tukade, Nabhakkes
etc' are played- This Baj is not as mild as Delhi Baj but is rather
a bit forceful. The Bols of di
Siyahi and Palm are ntainly usedin tbis Baj. The Poorab Baj clearly
expressesthe pakhawaj
and dance. This Baj is played by severaiGharanas such as Lucknorv
Gharana, Farrukhabad
G har anaand B a n a ra sG h a ra n a e tc .

Lucknow Gharana
Tbe trvo grand sons of U. Sodhar Khan-U. Maudu Khan
and U. gaksu Khan were
invited by the Navab of Lucknorv from Delhi. They
laid dorvn the foundation of Lucknorv
Gharana' U' IvlamnranKhan uas the proruinentTabla player Sc
of this Gharana. His descendents
\r'ereas follows : -

U. lr{ammanKhan
i
Ustad lr{ohamrnadKhan Seheb
I
I
____J Hi
,t

U. MunneKhan U. Abid HussainKhan

\I \-
KhaliphaBazadHussain Dis. Pt. Beerulrlisra
BabaHeerendra Gangulee
U. Jahangeer Khan -

FarukhabadGharana
Ù' Baksu Khan got his daughtr-rmarried to u. vitayat Ali (Hazee
Saheb) alongrvith
some knowledgeof Tabla. Hence vilayat Ali is the founder
of this Gharana. peshkara and
Gat bajs are more prominent in this Gharana. Tbe descendents pr,
of vilayar Ali Khan are as foj
follorvs :

U. VilayatAli (HazeeSahib)
I

_____i-
,- I

U. HusainAli Khan Dis- U. Sllarimivan

I Dis. U. MurvarikAli
-^_____ \ Dis. U. ChhunnuKhau
Dis. tr{uneerKhan Dis. U. ChudiyaImam Bakhsha
U. Nanh'eKban
Y
\i I
Son unkno$n
U. Thirakwa MaseetIihan
U. GulamHussain I
Y

U. MaseetKhan U. BaodeHasaaKhan
U. ShamSuddin
I
I
' ll
iiy'anGhosh
G1
 Banaras Ghargna
Lucknow Gharana' Pt' Ram Sahay the
The Banaras Gharana is also a branch of
musician. His discendentsare as follows :-
disciple of u. Mandu Khan has been the first
Pt' Ram SahaY
i

l
Y
J DisciPles
Son BaldeoSahaY Dursa Sabay,Pt. VeeruMisra,
I PratàpooJi MaharajAnokhelal
(------J\

{ .1.
Sonburga Sahay Dis' KanthelMaharaj
I
--_l
+
SonSri Kishan Dis. Maharaj
a famous Tabla player of Banaras Gharana'
Durga Sahay was thougb blind yet he was
His descendeotswere as follows :-
Durga SabaYNannujee (Soordas)
I

------L-r ---_l
,l
Ois. Sri VacbaGuru
Pt.Vikkuji Son
Dis.GudaiMaharaj Pt. ShiyamLal Ji
Dis. SamtaPrasad
SonGummoGurui Gudai N{aharaj
Pro. Lal Ji
Banaras Gharana, Pt. Pratapoo Ji Maharaj bas been a
Among the Tabla playersof
Mahakal i ' i i i " < i es' = adcntsareas
p ro o ' in" ni T ab" lapla y e r. H e w a s b e s to rv e d rv i tb t heboonof
follows :-
PrataPoo Ji Maharaj
Son
Jagannath Maharaj
I
--^--
I v
Y.
Son
ShivaSunderlrIaSara.; VachaMisra
Son
Son
Bal Mohan Maharaj
SamtaPd. (Gudai Maharaj)
I
.} i
Son Dis
Kumar Lal SatvaNaraYan
Yashistha
of Sri Pratapoo Ji arc tbe descæodcslqof Purab
All thc abovedescendents -I{aharaj
Gharana.
5
 Âjnile Gharenr

This Baj is alsoa branchof DethiGharanaand hasbeennamedafter a Village Ajrada

in District Meerut This Baj wasstartedby two brothers-Kallu Khan and Meeru Khao' Both
of them;werethe disciplesof ShitabKhan, the son of U. BugaraKhan. U. Muhanradi Baksha
was the most famousTabla player amonghis descendents who is ranked as follows : -
U. MohamadiBaksha
U. Chand Khan
U. Kale Khan
U. HassuKban
U. ShambhuKhan
U. HsbibuddinKhan

A Tingeof Delhi Baj is clearly',isibleovsr the styleof Tabia playingof Ajiada Gharana.
The differenceis only of Laya Kari. Besides- the left hand is used very beautifully in Ajrada
Gharana.

Tbe PunjabGharana

The Tabla playersofPunjab Gharanahavenot broughtaoy new change in system of

Tabla playing. They trave started the Baj of Pakhawajon Tabla. The Gutsand Paransof
wooC, I
PunjabGharanaare famous for difficultLayakari.
shape.
U. Fakir Baksha Khan has been the trst Tabla player. His descendents
are as
follows :- of mar
U. FakeerKhan bottom
I
Y
I
v- top of ,
Son U. Kadir BakshaKhan Dis. U. Karad Ilahi Khan
Dis. N{. Alla Rakha Saheb
fastene

the top

These 1
and tb
sheeshi

Ta5la.
stretch
 PARTS OF TABLA
(DHAMA AND DUGGI)
Puda
Blacft
Kinar

Deesal

Deetal

Kumbh

I^angot

Duggi Tabla

1. Tabla (Ridht)-Kupbba'(wogden dmm)-It is madefrom aroond bloct of sheesham

wood, holtowed from inside. Its top is.a small round shape aod thc bottom is a large round
shape. Its roundnessincreasesgradually from top to bottom-
2. Dhama (I-eftFKunbha (wooden drumFlt is made from the round wooden block
of mango or sheeshamwood, hollowe.l from inside. The r,oundnessof the Dhama top and
bottom is nearly the same.
3. Duggi(LeftFA drum made of copper or brass nickel plated. from outside. Thc
top of drum is wider than Tabla and Dhama.
4. Pudda(TopFlhe top of Tabla, Dhama and Duggiaremadeoftbcskinofdeer
fastenedto the leather hoops.
5. Deewal(tæathcr Brasses)-It is a long leather brrssesused for the purpce of hoLding
the top of Tabla, Dhama and Duggi ovcr the body of the drum.
6. Gatte (Woçf1enPegsFGate are of (7 x 3) cms. in size in a cylindrical shapc-
These pegs are uscd for tuning the Tabte. These wooden pegs are kept betwccn the drum
and the ltather brasses. The total number of these pegsis eigftt. They are made from the
sheeshamor mango wood-
7. Langot-(Leztber RingFIt is a small leatherring which is kcpt in tbe bottom of
Tabla. Dhama or Duggi for holding the leatherbrassesloineOtogetÉérrvith ttrc top of drum
stretchedrvith leatherbrasses.
 s.
2

TU}{ING OF TABLA !
it

It is very essentialto every Tabla

player that he should be very
exact tuniag of rabla' The untuned well conversant rvith the
Tabla alwaysconfusesthe mind
unable to produce harmony properry of Tabra prayer and he is
and cannot attract the audience.

Three Types of Tabta Tunieg

c
I. The tuniog of Tabla basedon natural sound
of drum. d
2' The ru'ring of Tabta basedon musician's
basic note i.e. Shadai (Sa).
3' Tuning of Tabla based on Madhyam
(Ma) or pancham (pa)
notes(Sa). of musiciansbasic S(

tv
This type ortuning is cated shadaj a
(Sa-Ma) aod Shadaj pancham
(Sa-pa).
'\fadhyam
The beginnersof Tabla instrument should
take help of harmonium for
This is an easy rvay for them Tabra Tuning.
to pick up the sound of the
becausethe sound of rabla note to tune his instrument;
should be tuneo accordingto the sound
of harmonium note.
Tbe Tuoing of Tabla basedou Natural
Souod of Drum
Every Tabla drum according to its size
gives natural sounc rvhen stroken
the top (Pudda). The sound by fingers on
of Tabla depends upon trvo tbings
:_
(a) Height of Tabla, and (b)
Circumferenceof the top.
The Tablas having wider circumference
of top and greater height produces
lower pitch.
havins comparativelv
smatteriop
circumrerence
fii:ïtiïf;i,,:i:t"btas and resser
height
The Tuningof rabta basedon
MusiciansJBasic
Note i.e. Shadai(Sa)or Madhyam(Ma)
pancbam(pa) or
The Tabla (right) shouldbe tuned
on the musiciansfixed notes for
can take help of Harmonium,piano, this purpose. one
o.g"n o, pi;;;;;;"* The voice of note rvhich is
used for Tabla tuning should
ue tepiin mind beforethe start
sound of fixed note shourd of Tabra tuning, becausethe
be producedon Tabraon everypoint
u.oondit equary.
way of Tuning For tuninga
-' smat hammercan be used.
the top of Tabla shouldbe tightenù Before using the hammer,
with botton smarlring by
reather brassesand the pegs
E
 peg
leatherbrasses' Four brassesshould be kept over every
shouldbe placedbetweendrum and
Tabla is 8'
and the total numberof pegsusedia
t}singofHgmmer:Forthea,djustmentupto3notestheslrokeo|hammerusedonpegs'
lilhenthestrokeisgiventoptodownwards,thesoundshouldberaisedandwhenhammerstroke
shouldf4ll down'
is givenfrom down to upwardthe sound
TuningPoints:WhenyouwanttostarttuningofTablaandusinghammeronthetop,
and givehammcr stlokewith left hand and hear
strikethe Tabla top with right hand first fioger
of note fixed for the tuning producedby harmonium
the soundproduced.Telly it with the sound
or by any other musicalinstrument'
Ifthesoundislowerthanfixednotesoundgivethebammerstrokefromupwardto
dgçlrvardandifthesoundoftopishigherthantuningnoTesoundgivethehammerstrokefrom
handfirstfingergradually'
downto upwardand checkthesoundby right
of Dhannaonly two notes should be used' The
Tuning of Dhama or Duggi : For tuning (Sa) of
to tbat sound the first system is Shadaj
sound of notes of Tabla is the base' According of player
the systemsare used according to the choice
Mandra SaPtakaof lower octave' Both
and t he s iz eof d u g g i .
 BOLS OF TABLA

The bols of Tabla have been madeout froo thc bob of Pakhawaj and Mridang of oldco
times.
Thesebols were as follows :-
Nagan III KTK
Yagan ': ISS N Ta Dha
Ragan : sls Dha N Dha
Magan -: SSS Dha Dha Dha
Bhagan :SIIa DhaKT
Tagan : sst Dha To N
Jagan : ISt KTaK
Sagan IIS KT Dha

OLD SYSTENT{}F TALâS

All the matras of every Tala and the bars scre fi.red but the number of matras changed
according to their Jatis. This systembrought a changa
The following SevenTalas had bcen adopted io Indian music in olden days :-
t. Ek Tal. 2 RoopakTal, 3. Jhap Tal. 4. Triput Tal, 5. lvlath Tal, 6. Dhruva
Tala- 7. Ath Tala.
BOI-S OF TABLA
Bolsof Tablacontainl5letters. Outof rvhichfourlettersareforleft hand anJ clsten
for right.
LeJt hand letters:

Black (Siyahi)

Kore

Kinar

È1

D ha

l0
Right hand letters i

szs (t. {t E
Aog, Ta, Da, Ta, ! Tha, Tha,
n[{4
La, Ra, Tra
Letterslcombinedwith single.towel to make wrds :

Tee

*fr"ù f ià tT
Dhee Ghee Ke Kee Dhe Ghe

Vlords combined wilh two letters :

f{r 162 Îqs ;rrT filc
Dhir Kit Dhid Nag Tit
Words combined with three letters :
drfuë qrf+-c ilÊrq Tî.ra
Takit Dhakit Tagin Nagin
Wordscombinedwith four letters :
fffi+,u ffiq.e ft<îrq gcise
Tirkit Dhirkit Gadigin Dhumkit

ll
 How to producesoundof lettersfrom Tabla and Dhama..
Just as in other musirnl instru-
ments the poiots are fixed to produce musicalsound notes,
in the sam€rvay in Tabla also points
are fixed on the top to produce sound of bols.
Oa the top of Tabla three points - nemed Kinar
(edge), Kore (wbitc portion) and siyahi (brack --
circrc) are to be remembered.t
-
Tabla is divided into two parts i.e. Tabla and Duggi
or Dhama. Thc Tabla is played by
the rigùt hand while Duggi by the lefr hand.
Bols at Tabla : There anesevenbole on Tabla.
They are produced by the right hand
ûngcrs.
Ta or Na This bol is produ* *, the edgcof imF
the æp of Tabla by the stroke of right
hand frst ûnger. " Ta is also produced by foUq har:
togrn5 stroke togetheron Tabta-
zee: This bol is produced on the white part mut
betweenthe edge and thc btack circre top
by tbc stroke of the right hand first finger, Some dun
playerscall this bol as Ta,
Trz : This bol is producedon the black circleby harr
the stroke of right hand first fnger. It forc
is also produced by firsg secondand third fngers comùn"a
$rokes on Siyani or black.
re hoducing of this bol is a bit different from tbe
above three bols. To produce this
bol correcly" a joint stroke of second,third and fourth of sr
fngers is given on the black cirr*e.
Tay To producethis bol a stroke th.9tip of fust and
- 9f ûnger is given on rhe black cirdc,
" three fingen are kept in hatf stand.Ë'p"ritloï.-"*
tbe rernaining byc
hts on hrygi: Gnry three bols arc produced on the
top of Duggi i.e. Ke, Ge and Ghe,
Dhe bo! is produced with theoombination of ra
bol of Tabra and Gha bor of Duggi. usei
Ghe : Ge or Ghe bcl is producedby the left hand with
the position tber tbe bac* portion
of pah shciuldrest on white part of Duggi and the pressure
of arm should be light. The strote anci
be givea by the bent position of the first, secondand third
-shou!4 ûogersof rbc lcft han4 on the
black cir* of tùe top in a yery quick manner. The finger
should not rest on the top.
perl
Ke This bol is produccd by the joint stroke of left
" hand four ûngers
--èv's on
vu the
r black
circle of the Dugg.

The Joint Borson Tqbraand Duggi.- when bols of diff-,

rabra Ta, Na, Teeand rin are pro-
ducedjointly sith the bols of Duggi Ghe, they are caned
Dha, Dhee, and Dhin as :_
Ta + Ghe: Dha Th.

Tee * Ghe: Dhee

Tio * Ghc: Dhin

t2
 TALA AND LAYA
GTME AND RHYTHM)

Tala and Laya arc unconscious motions of calculations rvhictr begin to stir rvhen the
imprersion of soundspenetratesour susceptibiliticsand takes a defin'ite shape of melody and
harmony form, grasping and reducing-both to uniformity- This cornbined sense of feeling is
music which rouses the organism, stimulates the curregts, wakes the imagirratio;rs, links up the
duration and fragments of long lost memory of space and finally acts as mediator for thc
harmonious oombinations.of manifold factors of life. 'Manifestly the study of Tal and Laya
forces, strengrhens an4 cndures the knowledge of musical education.

Tala : lo Indian music the tune element is an essential proc€ss. The regular succession
of sænd vibration is necessaryto make sound musical. Also in vocal and iastrumental music
and also in dancing intervals are created to make music melodious. These intervals were created
by clapping of hands and hence it is called Tala.

Pakbvaj, Mridang, Dhol, Nakkara, Drrff, Kbanjari and Tabtra etc. :rre the instrurnents
used for the purpose of Talas. Out of these musical instruments Tabna is most popular.
The liateIndian musicians invented many Talas of different maù'as (strok;s), Khands (Bars)
and Bols (words) and fixed tire points of 'Sam' Talis and Khalis for everv Taia-

tr{atra (Stroke): A matra is taken as the shortesttime in whicrr a syllablc' can be pro-
perly pronouoced.

Bols: Ttre sound produced by Tabla Dhama or Duggi by stroke of Ènscrs antJ hand in
different ways is called Bols i.e. Ta, lia, Tee, Tin, Ke, Ge, Te, Tay, Dha, Dhe. Dhin.

Iheka-Tbe round of a Tala has fixed matras and on every Eqatrathere are fixcd bols.
They are called Thekas. For example Bols of Theka, Tala and Dadara (Matra 6).

Sam + 0 Khali.
Bols Dha Dhio Na Db,a Tr-. Na
+
Matra 6

t3
 Sum, Tali and Khali
Thc systemof time and rhythm of Indian musicis different Pf.lac
from that of foreign time and
rhythm' In foreign music the time and rhythm of two, three
or four matrasare p-opularand
tôey reprcsentonly the idea of stop rvherenecessar:1.In the mean
time the musical instruments K-ba
are kept at stand still and after tbe stoppage-time,rhc orchestrastarts playing.
Kha
hec

and

tb€ l
aodir
The i
but t.
sfirgs
after

Tanes
Tabla
of thr
Ga;-a
rh,rtb

marl

but
is gi.
clap
iôca
mus
irnp
and
Tal:
ru 5

iss
n3u!
thar

Tab
t4
 folk dances vhich arc
Tbe tateq play a prominent role in the Indian fôlk songs and
practiced rrith smaller number of matra-talas'
practiced on bars but later on whct-
In the olden Indian time and rhythm only talas were
in each Tala becausc in
Khayal-Gayaki was introduced in music, the Khali poiût was includcd
and flrthcr
Khayal Gayan the musician produces the nature of Raga by improvisation-aa-aa
(Fint stroke of Tala)'
be can take help of Khali points to reach the Sum point

SurnrThe starting point of a Tala is called Som. Say Êrst matra of Talas is Sum point

and on every Theka it is shown by * sign'

at a certain point- The musician and

The Sum in ordinary rvay means to meet or unite
way .that it produces a stfiange pleasure to
the Tabla player meet at sum point in such a
audience and tbe people shcut the words o[ pleasure-wah-,wah-,on the strokc of Sum = time-
from Sum + poid
The Sum is fixed at first matra in eacb Tala and every Tala is started
of the line of
but there is no fixed Sam point in songs. The popular phrase or the senterce
and fo linked sith it
songs is repeatedly emPhasiscd to shorv its prominence in the song
afterwards.

The pæition ofSam point is not definitely marted in a song on tbe bæis of matras of
Talas. It is ûxed by the rnusician on the basis of its style and movement of rvords and thc
Tabla player sterts playiog Thekas from the Sam point of tbe musician and when the Bol of Sam
of the musician and the Sam of the first ),{atra of tbe Tabla repeatedly meet together in Khayal
groke of time and
Gayaki then it is called the Sam and strange pteasurc of tbe nnion and the
rhythm show a beautiful picture of the music.

Tali-llapping of hands is called Tali i.e. Tbeka of Talas baving Tali points arc
ma r k edl23{ . et c .

In foreign music system the player shorvsthe time by tbe movem€nt anri stroke of foot
foc*
but in Indian system the Talas are no doubt counted butthe movementand tbe strokeof
çith Sam i'e- the
is gir.en on the basis of bars and not on ever.v matr:t- Talis are started
clapping of hands clearly shorvs the bars of talas from the first matra of Tala. It gives the full
thc
ibea of bars to Kbayal Gayak about the Gayan (song). This knowledge of tùebars helps
Bars play aa
musician to recognise the Sam point and to join the tune or song. The Talis on
s'ith tbe help of Talis. The time bar
important pân in dance so every dancer starts his danae
tbe Matras of evela
and Talis gir.e great pleasure of dance to the audience. In Indian music
his Tala accor&
Tala-tbe position of bar, Tali and Khali are fixed and the Tabla player fixes.
his Tala from the Sum point. 'I'he Talia
ing to the Marras of the first line of the song and starts
repeated Bols of
is started from the first Matra and the Sum of the musician and rhe sarlE
point are given more loudly
musician join *'ith Tala at Sum point and the Talis of that Sum
than the Talis given in ordinary rvay.

band o'o
Khati-Khali means a gap of some matras rvhich Bols of Theka play by right
Tabla only. The left (Duggi or Dhama) remainssilent io'Khali matras time'

r5
 Khali points heip the classicalmusicianstounderstandthcstartingpointoftheirTala
{Sam point) when they sing Khiyat. Kbari point on Theka
is shown by 0 sign.

TALA CIRCLE

the m
or D
ted b
reæg
P"oint

as th
engir
Kha
ald
the l
and
bars
The Khau point ro Northern Indian Tatas is fixed after
half of the total Matras in tbat t-'OUf
Tala' Some Talas such as -{dachautal and Sool Tala çhich have
bcen formed by doing some ther
changesin Fk' ::la haYedrference in Khali points.
The following Thekas are shorvn in circle r bir l
Teen Tala, Taiwada, Deephandi, Chartala,
Ekrala, Jhap, Kehrwa & Dadra. r-1m(
\{a1

16
 Talas is given below :
The statementof prevalent

Half of tbe total No. of tr4atrasof

Name of Tala Total Matras Khali point
Matras

lo 8
Teen Tala
I 8
l.t
Deepchandi
7 8
J hum r a
t4
6
1.t
tl
I
Dhamar
6 7
1)
Ek Tala
6 1
Char Tala
6
IU
5
J hap T ala
A

Tala Kehratva
8
Â
J
tr
Tala Dadara

T heK hal i p o i n ti s v .ry e s s e n ti a i i n K h a l' al Gayaki becausethei nsl ru:-i ent.pl averand
thenus ic ianr ec o g n l s e th e S a rn p o i n to fT a l a ,*,i ththehel poi K l i al i poi nt.TheB ol sof| )uggi
o rDhanr aar ek e i ts rl e n ta tth e K h a l i p o i n to fT al aandrhe\IatrasofK hal i D oi ntal ecompl e.
te dbr t heB ols o|ri g h th a n d a n d th e Bo l s o fD u g gi arestoopedTl reK hal poial Gal
nts he' akcasi ly the sam
arproaches
a fte r th a t b i ;h. hel p of K hl l i
re c ognis est he Kh a l i p o i n t a n d
point .

I t wiilnotb e e x a -l g e ra te d i frre Su p p o sei heK hal i poi ntastbeouterra:i rra),si gnal l ust
as t hedr ir , er of th e rra i n g e ts rh e i d e a o fth e d i stanceofpl atfornrandcontrol si hespeedofthe
i :t the sâme ' Â ay
a n d re a c h e shi s desti nati on conreni entl y,
engineby s c ein gth e o u te i s i g n a l
Kha] ipoint is |erv l l ta tra ,b .| o ,.S a m p o i n t.B e si destherei sahonl esi gnal betr' eenthepl
platform' at| orm
In major Talas
the eract idea of boundar-v oi the
and the outer signal ivhich gives
theK halipoint is fa ra rv a y fro mth e S a n rp o i n tandoneTal i poi nti sfi xedbetrveentheK bal i in trvo
ihc destination, just for erampie Tal Dadra' tt has 6 Matras
ano Srm point to control
b ar s " - |t hr c c M a tra s e a c h .l ts S a m i s < J e te rmi nedonthefi rstl l atraandtheK hal justi poi ntiTeen
as in son Tala,
is of three Nlatra time but in big Talas
fourih Matra. The Srm distarrce on ôrst, fifth aûd
|Llur l\4at|as 3er-h. The Tali point is
thele are 15 Matras il foui bars of the i ntei ral of 8 Matras
o n th e n i n th . The S am poi nt i s ai
t hir r : ent h i\ , lat ra sri h i l e K h a l i i s is irc-cl on thirtcenth
the Sarnpoint' Hence one Tali poirrt
tinre irom Khali ri'hich is far from (Sam point).
lr{atre for tlre con.,..lnic-nce oI musicianto approaclrtheir destination

t7
 Tala Dadrs
1234,
Tvr
DhaDhinùJ6
r\a Dba
TeenTal Tin Na disl
123q asi
Dha
Dhin
oiin où oi" o,'u"
oo1"oï" oi" ,i: t;^
;,'" lri ,ll" ;l
Laya (speed)-In ordin"o
,."r.tlr"a
(speej) "ir*
pretea circre
in a dehnite
ti,.. li ;;;ln,ï:ï'J"ïï.#*
ft-
;;rï,il,';;:ï:,ï,::ï;
:?ï:.:",ooiÏ,:"'ïïiï.'u"""lon According
to our.,urtions
"''"*,. rhereare threerypes

Drut

Madhya

Vilampat

(i) Fast Speed(Drut Lava)

(ii) Medium or Normal speed(lv{adhya
La1:)
(trr) Slow speed(Vilampat
Laya)
Normal speerl_Normai speed

jj*fiïJriTilrïi:,:i.îil:,"ï::
:îi::*n;:;:* j:,,,î:ï";"i;..il,:
is the

. Fast speed_Fast speed

means half
oneminutetime to comprete speed
i'e. ir a musicianrequircs,
a part ,":l:"'i:::."".:i
",
words
we"*J;io"j,:i:'*,,:;"î':":'ïî:
,Ti:iJ*iïïîT:,iî:i"î::H:i*,1"",0.. ',;
srowspeed-rn
srow
speed
a ,u,i"i"li:;::,îilï:':ï:
requiredby the normar
speed.'srppore ,. ,,,"0
iri. a roundof his play"";:.
in one minute in
"orpl.res
;1';"Ïi:i;:"J"1',*:,'J:il1î:ï",.împrete rhesame
.*no. rn medium
vr!ùu.!çu to oe one second,in fast or normar
speedtwo seconds, specdhalf secondand
in srow

I8
Typesof Specd
The Tabla playerusesmanytyp€sof speed to bring the beauty in expressionof bis
usedin Indian music systemare
displayaccordingto the Indiantime and rhythm. The speeds
as follows:-
1. Equalspeed
2. Doublospeed
3. Triple speed
4. Four timesspeed
5. Sixtimesspeed
6. Eighttimesspeed
7. Obliquerpecd
8. Kiwadi speed
l. Equalspeed:-To play everyBol of fabla in one matra time is called the Equal
speedor the speedof Dha, suchas :
l2
Dha Dhin Dhin Dha
The onc matra time hasbeensupposedto be one second.
2. Doublespeed:-To play t*'o Bols in one matra time is called tbe Double speed,
suchas :-
Dba Dhin Dhin Dha
\-___---J \-----J

3. Triplespeed:-To play threeBols in one matra time is called tbe Triple speed
suchas :-
Dha Dhin Dhin Dba Dha Dhin
\___------J

4. Fo.r timesspeed:-To play four bolsin onematra time is called the Four times
rpccd such as :-
Dha Dhin Dbin Dha
t---------J

5. Sixtimesspeed:-To play six botsin onematratime is called the Six times speed
suchas :-
Dha Dhin Dhin Dha Dha Dbin
\-----
6. matratime is called the Eight times
Eighttimesspeed:-To play eight bols in L-rne
speedsuchas :-
Dha Dhin Dhin Dha Dha Dhin Dhin Dha
\----- ------J

l9
 7. o b l i q u e s p e e d :-T o p l a y th re e bol s i n tw o matra
ri me i s cal i ed the obl i que speed.
In th i s s p e e d
rh e p ra y e r
p ra y shi s i nsrrumenri n obi i que;" r.-;;;.' orayerscal r Cat
rri pi e
spcedas an oblique speed,such as :_
Dha Dhin Dha
\_______J

Ka-vad
8. Kiw'adispeec (Doubleoblique speed):-Kirvadi
speed is rnore difllcult than the
o b l i q u e s p e e c i ' T o p ra y 3 b o rsi n t$o matra Chaka
ti me or 5 bol s i n 3 natra ti nre i s carl ed
the Kirvadi speed.

HOW TO PRACTISE
Tripali
T he p ra c ti c eo i T a b l a i : n o t m u c h i nteresti ng. (Triple
S ome ti nresi t makcs one monotonous
g u t th j s i n s T ru me n ti s i he soul of
aod un- int er e s ti n b
musi c becausemusi c cannct be gi ' e. Chattpr
perfection rvithout timc and rh1'thm. Hence the Tabla
player shouid make a regular practice
about t r v o h o u rs d a i l ' ' ' R b l rh m i s th c b aseoi ti me, of
hence,one shourdîai :: a sreatcare
m ov em entof h a n d a n d û n g e rs* h e th e r th e l' are rhythmi cal of the
or nor. The practi ce shoui d be lvfukhc
done in f ollow i n g ma o n e i :-

r. Th e n u mb e i o ; b o rsto b e p ro ;uced or Tabra and

D uggi ai ons..,.i ththe mo\j emenr
of ti n _ ers
e o n i h e m. lrlohra

2. To assembieibe bols i.e. to pi;y rlo ools, three bois

alcj iour b;,. togeiirer.
Tukda
3' T h e p ra c ti c : c i th e T h e k a o f ra bi a ai oagrvi th ' i rggai l
i rs D u-u* ean, and C hauganetc.
1. T h e p ra c ri c e p ra ri " g rv { o h ra ,
-' : - \{ ukh:i a types oi Gars, parar a:i R eraetc. Uthan
T he de ta i l so f b o i s o f ra c l a a n d D u -rgiai oag w i th movements
of haaJ and fi ngers rs
iliustratedfor guiciance.

T be plal- ers ho u l dre m e m b e rth e fo l l o w i o g n ords usetii n Paran

Tabl a pl al i ng :_
Pra:.kar 1". play' -.r Theka i: differ:at styies.
Peshkar T t-rd i s p i a )' v a ri o u ss :i i es oi col s oi Theka i n
di ffer-eor
rhythms. It sho* .s
ti ;: b o l s c l T h e k a i n si ngl e.dori bi e,tri pi e G ltarat
an,3quadrul .e ,l y,tn.r.
Kayada T h : g ro u : o f b o l s . rf Ta:,a prayed i n
di l Terentsrl l es * ,i th vari ous
Ct- :l lr iP 3 ; ;.ri1 S. Ba n t

Rela T c p l a ;" 1 -' i so f T a b .. i n c;i ;rent styres i n rast spee.Ji .e.

a n d D o u ' :l e e u a d ru ;le spe:j . euadrupl e Lagqi

Rax' R :' .. i s a i s oa k i n d o i R el a çrrh the di fr" erence

that R arv i s pl ayed i n
sin-:ilparis of Theka i.e. in i,i.çr,three or Ladi
tbur matras.
Pal!a To riay b,.is of Rela and Kil.ada combined
and sep;,ratein different
s ti 1 3 51 9 ti ..d u c e n e rr .rari etr. Si n q a

20
Gc t G a t i s th c c o mb i n a tion of bol s pl al ' ed i n di fferentrhythni i c styl esand
s h o rv s c l e a rl y b o th Khal i and Tal i poi nts. Thi s st1.l ei s oopul ar i n
Banara,;,{'oorab and Punjab Bajs.

Kavada Gat To play Gat on Kayada style is calied Kayada Gat and is popular in
D e l h i Ba i .
Clta):ardar Gcit T h e b o l s o f T h e k a or C rt pl ayed i n Tri pl e speedstarti ngfrom S am
a n d ta k i n g th rc e ro u nds and meet at S am poi nt agai n arc cal l ed
C h a k a rd a rG a t.

Tripal!î Gat T h e Ga t i n rv h i c h th e bol s cf si ngl e, doubl e and tri pl e rh1' thms are
(Tr ipie G at ) p l a l ' e dc o mb i n e di s c a i i edthr i ri pl e Gat.
' fai :. i i avi ng l 5 matras i f di vi ded i n four
Ch':uoaliG,tt T h e b o l s o f T h c k a o f Teel
p a rtsh a l ' i n g ,1ma i ra s e achtc :!ay each part separ:i tel yi n di fl crent styl e
a n c irh y th m , rt i s c .ri i c rjthe C raupal i C a1.

ll{urhada T h e o p e n i n g b o i s o i Tabl ' to pi ck poi nt ol S arn for sl ai ti ng Theka i s

c a i l e d Mu k l ra d a .

Ma i; r a T h e s ta ti n -l b o i s o f T a bl a to :--i i orl tune di spi ayedbl rl i e dancer,si nger

a n d th e i n s tru m e n tp l a l er tc :l ;k S am poi nt for starti n,sTheka.

Tuktie S o m c p i c c e s o i o o i s o i T:.:, : pi ayed b,v Tabl a pi a-v.-ri n di fi èreot

rh y th n rsto s h o * \' a ri ett-o!-si r: poi nt.

Uth:"i T a b l a o r Pa k i ra *tj p i a' ,cci , thç thr di fi l rent sl 1' l es

of the
' th -i àn.-,
b o l s i n d i ffe rc n tr;r!' thi nj l rk: : P aran beforestarti ngth: Theka i s cal l ed
U th a n .

Par ti -. P a ra n i s th e c h i e f m ù ti,od o. -.a-vi ngP akhari a_iby taIi ng four or fi r.e

ro u n d s o l -l ' h e k aa n d c omi ng :rck to the S am poi nt al Ll ng tvtrn Ti ,va.
T h e b o l s o f I h e k i i al i er ::i ng pl ay' ed rhree r!mes rc compl ete the
c i rc l c ,me e t a t S a m p o i nt ag: - rre cal l t' d Ti ..a or l i hai .
Glt,:' .':na T h : s l s tc m o f l c a rn i n gTab1. :1. any Guru or t.ùcher i s cal l ei Gharana
o r B a j r.e .a s D e l h !, Agra, L' ;knorv Gharanasetc.
B a,.t T h e re a re t* o o p i n i o ns re:-,-rdi ngB ant (i ) To pl ay the bol s of Theka
i n d j ffe re n ttrp e s (i i ) B ol s of Ti eka pl ayed i n di fferentrhythms.
Lag:! T i re b o l s o f Ke h ra * ' r , D r:,ra, P asto and R ocpak Tal as pl ayed i a
d i ffe re n ts tv l c sa re c a l L' d Laru.
La,i. L a d i i s th e m e th o d o f pl ayi r._: Tabi a by' l i nki ng the bol s rogethi r si de by
s i C e . It i s a l s o c a l l c d Ladau:
S:,: :,.'l S a n rs aits th e rn e th o dc.f pl a..:::_l Tabl a adj usti ngthe dancer, si nger and
i n s tru n re n p
t l a l ' e rto h a ve a b:.:.uti fuldi spl a_y
of thei r prosramûte.

2l
 of Tabla
Thch {Dugao) - The slow speedis called Thah or Vilampat Laya and playing
in Double speedfrom Thah laya rs called Dugan'
are called
Tig,una,nCChaugan- The uniform speedplaved in Triple and Quadruple speeds
Tiguns and Chaugans.
speed is called Aad
Asd and Kt+'ad The uniform speedif pla-vedin one and a half the 1\'e!e
and if again doubled it is called Kwad' it cat
On the basisof Matras Tihai is of three types : the l
(i) Four Matra's Tihai
(i i ) Ei g h t Ma tra' s Ti hai
Matr
(iii) SixteenMatra's Tihai
fluct
Parans are also of manY tyPes :-
Gharana
(i ) Komal Paran --'lhe Parans which are piayed on Banaras alon
in Poorab Baj are cailed Kamai Parans' chat
plal'ed four or
(i i I Chakardar Parans-The piece of a Gat aftei being
point is called
ôve rounds of the Theka and meets a! Sam onll
Chakardar Paran.
are plal cd on the demand of
(rir) Farmaishi Paran-The Paran wbich
the audienceare called Farmaishi Parans' Tht

Lslkila Parans T h e P a ra n s w h i cbarepi al ,edonthestl ' l eofN akkarasandS hahnai s

Parans' pei
pla-vedin tdoghul perioCare called Lalkila
OE
the basisof one specialBoi to display
Char Bagit Reiasand Parans rvhen piayed on as
Char Bagb'
clear picture in everv round are called
rh
Chalan C b a l a n me a D s aparti cui arS } ' S temofstarti ngTa-hl ai odi fferentS tates
and Gharanas.
played I 4 times is called Biad
Biad and Pauri The uniform speedo1 ptay-ingTabla if
La'v'as i .e .n o rma l s p e edr_3j ofi tad< i i ngtogetherarecal l edB i ad.

1)
 THEKAS OF TABLA
instrument in olden days' Their bols
The Pakhawaj and Mridang were the popular musical
bols continued to be used in Tabla when
werc played on different styles of dance. The same
were modified little by little' Io Muslim period
it came into practice but as the time passedthey
aod the Southern system'
the Tala was divided into two systemNorthern systems
uniform with a change of number of
In Soutbern systemtbe movement of Talas remains
Tbe number of Matras in Guru remains
Matras in bars. These Talas are of five categories'
fluctuating.
of Tali and Khali
I nt heT alas o fN o rth e rn s y s te mrv e re fi x e t l thel rtatras' B ars' poi nts
Bols of Thekas but did not make anY
along with Bois. Some musiciansmade changes in
changein Matras, Bars and points of Taii and Khali'
from Southern system not
On the basis oi Eols of Thekas the Northern system differs
Thekas'
only in number of Matras but also in the t,vpeof playing
and the Bs'is of Thekas
The Thekas of Northern s)'stemwere formed in \{uslim period
animals' If we pla) the Bols of
were Êxed accordingto the manner of movemeotof birds and
shorçsits o\l'n type of rh-'-thm'
Thekasaccordingthe manner of moveruent,every Theka
among the animals and
The movementsof horse, donkey, etephant,de=r and camel
rule some Talas rvereformed
peacock and dove in birds, resemblemor. tuith Talas. In tr{uslim
of some Talas is given
on the basisof the movementof thesebirds and animals. The movement
as follows :
Matras eacb' One Khali and
TeenTa!: Itcontains 16 Matras in four Bars of four
three Tali points are given. Bols are as follows :
Theka Tal Teen
J
+ 2O 13 i4 15 16
5 6 ? 8 I 9 l0 ll 12 I
123 4 I
I s. Dr'eeDhee Na
Na Dhee Dhee Na Na Dhee DheeNa I Na Tee Tee Na I

The movement of this Theka follorvs the

movement of horse. The horse walks rvith regular
steps
time in every step. In race too, the time of
remains regular and uniform.
The Teen Tala also resemblcs*ith the move-
ment of horse. This Theka is considered as the best
one becauscof tbe use of four Matras in each bar'
Some musicians compare Teen Tal with tbe
movcment of railway train. The railway track con-
tains joints. When thc train passesover the track'
 thc joints produce a Tik, Tik sound. As the joints
are found in the lines at alteroative
intervals' so when the wheelsof the train move over
thesejoints they produce a regular sound.
Besidesrvhen the train starts from the station passsing t
over various crossingsto reach the
line it appears as if some Tabla player might main 1
be playing Mohra and Mukhada before
the Sam point. reaching
DT
when the train reachesthe platform tbrough home signal,
the parans and Relas of reen
Tala are felt at tbe time rvhentbe train is betrveen and
the home signaland the platform because
the fast speed. of
1)r

Hetlcethe comparisonof Teen Tala rvith that of railB,ay Cha

train is not unsuitable. fam

TALAS OF 14 MATRAS
The popular movements of this catcgory are
Dcepchancii, jhumra, Dhamar and
Adachautrl, out of rvhich the first three are
related rvith Hori rvhich is a special festi'ai
celebratedall over India. This is also callec
a secsonalfestival. It occurs at the end of s,inter
s eas on' A c c o rd i n gto th e In d i a n s )' s te mo l seasons
i t actual l y fal l s i n auturnnw hi ch i s a season
of m ild day s ' H e n c e p e o p l e c e l e b ra te it rvi th Kb
ereat acti vi ty,enthusi asm,si ngi na.danci ngand
throwins coloured \l'ater uPon one another in groups of
in lanes and streets of villages, towns in
and cities.
rvil
Deep c h a n d ia n d J h u mra a re th e ru ral ral as. by
The fol k son-ss
are general l ysung i n these
Talas' Tala Dhamar is used in songsof ro-rralfamilies slo
anc is ,oo.. .orr...ned rvith Hori songsof
higher category' The ell'lperots' quL-ens'
princes and the maid servants generally un
Hori on this Tala. celebrate
uIl

Theka Tal Deepchandi

-r 2
lf 0 .J
rjJ
4 ,i 6 89 l0 il t2 13 t1
Dha Dhin Dha Ge Trn Ta Tin D ha Ge Tirr I

Theka Tal Jirumra

1 +1.
î 0 tt
2 J 456 7
J
89 l0 ll 12 13 14 tl
Dhin Dhin N a k D h i n D b i n D h a s e Tirkit Tin Tin
c
Nr.k Dhin Dhin Dhase Tirkit
e:
A
Theka Tal Dhamar r.
+ 2 0
ta . J
45 o 8910 1
il12t3 t4
Ka Dhee Ta Dhee Ta s
Dha Ge Dhee Na Dee Na Ta
24
 ThekaTal Ada Chautal
4 5
) 0 30
+ 56 ? 8le l0 l1 l2 13 14
l2 34
I Dhin Dbin Na
Ka Ta i Trit Dhin Na
Dhin Trik Dhin Na Too Na
froin Deep chandi' Jhumra
Ada chautal- Ada chautal contains 14 matras but differs
w i ththat cbartal of
T h i s T al aof l 4matrasresembl es
a n dDham ar inm a n n e ro f m o v e me n ts . trvo matras in
by the Dhrupad musicians by adding
12 matras. The Ada Chautal was formed
Char t al. T heA daC h a u ta l s o fo rme d s ta rte d to t akethep| aceofD hamarH ori sofroyal
families.

TALAS OF 12 MATRAS
The popularTalasof 12 matrasare i-
(a) Ektala (b) Chartala'
Tbe Bada
Ektala is generallyused in Khayal Gayan'
movement
Khayals are specially sung on this Tala' The
o fthis T alais deep a n d i n s l o w rh y th m a n d i s m a inl ysung
resembles
in Vilambit laya. The movement of this Tala
rvith the rvalk of elepbant. Every Bol is clearly depicted
The
by the slow and steady movement of the musician'
the clear
slow movement of the Tala is responsible for
Ga-van to
understandingof the art of music in Khayal
understandthe Sam Point.

Theka Tal Ektala

,1
_l_ 0 2 0 J t

5 6 78 I 910 ll t2
1) 34
I
Too Na Ta I Dhage Tirkit D hi n Na
Dhin Dhin DhaeeTirkit

Char Tala-This Tala is PlaYed more

*'ith Dhrupad Ga1'an. The movement of
this Tala in Dhrupad Gayan resemblesrvith
the rvaik of elephant, but rvhen Dhrupad
Gayàn is sung in double, triple, fours and
ei-ehts the Tabla player starts to play in
of
eitied gols (Sath Ke Bols) and on account
fast speed the Allied Bols loosing the nature of
movement of elephant, resemble more with the
his
race of deer wbereas the musician sings
songs leaping from on€ note to another'

25
 ThekaTal Cbar
+ 0 2 0 J A
I 2 34 56 78
I

9 10 1t 12 in iig
Dha Dha Din Ta Kit Dha Din Ta more
Tir Kat Gadi Gina
and
TALAS OF TOMATRAS ridin
donk
Two popularTalasof Ten Matrasare : (a) Jhap Tala, (b) plain
SootTala.
JhapTalaresembleswith that of a camel and Kehi
the musician moves up and down ever\
like a man riding on N{at:
a camel. The manner of sitting
on a camel indicates
the Matras of this Tala.
The keeping of knees on
ground by bending the mOf'
forelegs, should be considered
as the ûrst Matra- The putting on peac
rhe behind right
le-eforrvard should be taken as the second çtPn
l,{atra. The
movement of left leg is the third À{atra. poir
Sitting on
ground by tbe behind le_qsis and
the fourth Matra. He
takes the complete sitting rvith the help Kel
of fifth foot.
The 6fth foot is the additional one and remains folk
attached
rvith the breast.In standing too he
takes help from it.
Hence the style of sitting and standing
both represent
manner of Jhap Tala. The Jhap Taia
contains the
t:n \latras having trvo bars of trvo Matras
each an,l two bars of three \{atras
er.chas folloç,s :
Theka Tal Jhap
)
l ') .,A 0
J.t)
67 R o r^
IV

Dhin Na Dhin Dhin Na Tin Na D hi n D hi n Na

Dhee Na Dhee Dhee Na Tee
Dhee Dhee Na Na
When Dhee and Na are plavedon the Tabla
it appearsas some man is rvaiking
in-ehis body fors'ard and backward. s*,ing-
This is the style oi *.n ridin_eon
a camel.
sool Tala is forined by cutting two Matras
from char Tala and contains ren
5 bars of t*'o Àifatraseach' The movement À{atras in
of this Talaresembles with that
musicianscall Sool Tala as Dove or Sool of Dove hence some
Fakhta.

Theka Tal Sool

: 0 2 J 0
I 2 415
J
6 78 910
T\L ^
Dha
I
lJttd Din Ta i Kit Dha Tit Kit Gadi Gina
26
 ÎALAS OF 8 MATRAS

The Talas of Eight Matras are played

in light and folk songs. This Taia resembles
more rvith the rvalk of'donkey uho is a poor
and simple animal. Before learning horse
ridine, children start riding{rom donkey. The
donkey can very easily go through hill and
plain, straight and narrow curved paths. Tala
Keharwa like the walk of donkey is played in
every type of song having different number of
N{atrast-tlvo, four or eight.

The ottrer style of this Tala rvhich is

m or e eas ier in d a n c i n g o f fo u r ma tra s . T h e
peacockrvhendances gayfully, he takes four
st epsr ight war dsa n d tu rn s b a c k to th e s ta rti n g
point and again taking four sieps left* ard
and again cornes on its original place. Tala
K ehar *' a s uit s e v e ry tl p e o f d a n c ea n d s o n -e,
fo lk or lis ht .

Theka Tal Kebarçe (8 Matras)

0
I 23 ^ ;i 6 6

Dha Ge Na Tee Ta Ke Dhin Na

Theka Tal Keharna (4 Matras)

Dhin Dha Tin Na

Dhage Nake Take Dhina

Theka Tal Keharna (2 ilIatras)

Dhag Nak
)1
 TALA OF 6 MATRAS
This type of Tala is the Tal Dadra
which is represented by a pageonpicking- up
the food grains. When tire pug.;;
one grain he looks sidewardsand
or two paces forrvard and repeats
;;"Ë
moves one
thing again. In rhis way the picking
"p
the same
4;i
uf of
grains,Iooking sjdclards and steping-f"r**O
etc. completethe tbreematras. Both
the parts
of threematras of Tala Dadra
,ou" io'tU. of tl
same manner. It makesthe song
beautiful
and aftractive.

mat
Theka Tal Dadra
-+-
l,)
0
J 4 5 6
Dha Dhin Na Dha Tin Na
IInd Type
Dha Dhin Dha I Dha Tin Ta

2s
 THEKA TAL DADRA 6 MATRAS
This Tbekais usedin Gazais,Bhajans,Geets,Thumareeand Dadra etc. The movement
of this tala is like that of a jumpingbird.

It contains6 matrasin two barsof three matras each baving Tali and Sam on first
matraand Khali on fourth.

+0
r2 3 4 5 6
Dha Dhiu Dha Dha Tin Ta

IInd Type
Dha Dbin Na Dha Tin Na

DugganTal Dadra

0
r4
IZ { A
T 5 6
Dha Dhin Dha Dha Tin Ta Dha Dhin Dha Dha Tin Ta

Tiggan Tal Dadra

I U
z 34 56
Dhin Dha Dha Tin Ta D ha D hi n D ha Dha Tin Ta Dha Dhin
\___-J \____-J \-__-_-,/ \____-J \____J

ChaugganTal Dadra

l2 a

Dha Dhin Dha Dha Tin Ta Dha Dhin Dha Dha Tin Ta
\-__-- \____-__J \--______J
-J

4 6
Dha Dhin Dha Dha Tin Ta Dha Dhin Dha Dha Tin Ta
\_-___-_J \-_____-J \______J

29
 9. Tirki
Uthan Tirk:

+ 0 10. Dha
I 2 .A
J+ 5 6 Tata
Dhage Tina Kidaug Tir*it Takta Kittak
Dhage Tina Kidang Tirkit Takta Kittak
1. Dha
Tihai Tala Dadra
2. Dhz
I
-T- 0
Talt
1 2 aÀ
J'l 5 6
Kat Dha Aa Da ïit 3. Dhr
Tit
Kat Dha Aa Aa Ki1 Kat Dha 4. Dh:
Ilnil Type 5. Dh
Tirkat Kidang Dha Aa Tirkat Tirkat 6. Dh
Kidang Dha Aa Aa Tirkat Kidang Dha 1. Dk
Tatrak Tala Dhinna Tir
l. Dhatrak Dha Dha Dhinna
8. Dl
2. Dhagenadha Dhinna Ginca Trak Dhinna Takenata Tinnakiona Traktinna
9. Dl
3. Dhak Dbin Nak Dhin Dhin Dhin Nagtrak Teenkat Dhin-sin
i0. D
Taktin Naktin Teen Teen Naktrak Teenaki t Ti n K i n
T:
4. Dhage Teena Taktatirkit Taketeena Kidangir- Taktatirkit
Kidangtirkit \I L

Tinkin-Ta Tinnatirkit 'l

5. Dhagin- Ad h i n g i n d h a Dhinna Takinnatin
nadhee Tirkit movcmel
seïcû r!
Pesbkara(Tala Dadra) as Khalt
l. Dhatee Dha Dha Dhinna Tatee Tata Dbinna Tee'ira'
2. Dhatee Dba Dha Dinna Dhati Dha Dba Dhinna
Tatee Tata Tinna Dhatee Dha Dlia Dhinna
3. Dhatu Dha Dha Tirkit Dhati D_haDha Dhinna
Tatee Tata Tirkit Dbati Dha Dbinna
4. Dhatu Dha Dha Tirkit Dhinna Ginna Tirkit
Tatee Tata Tirkit Tinna Ginna Tirkit

Dbatee Dha Dha Tirkit Tatee Tata Tirkit

i.
6. Dhatee Dhage Dhinna Ginna firkit Dbatee
Tatee Take Tinna Ginna Tirkit Dhatee
Dhinna Tirkit Dhati Dhinna Tirkit
7. Dhatee
Tinna Tirkit Dhatee Tinna Tirkit
Tatee
Dhatee Dha Dha Tirkit Dha Dha Dhinna
8. Tirkit
,Tatee Tata Tirkit Dha Dha Dtrinna
Tirkit

30
 Dhatee Ginna Tirkit Dbatee
9. Tirkit Dbatee -Dhatee
Tatee Ginna Tirkit
Tirkit Tatee
Tirkit Dhin Dhatee Cia
10. Dba Dha Adha
Tirkit Dhin Dhatee Gin
Tata Sta

Laggi and Ladi Tala Dadra

Gi n Tage Teena Kin

l. Dhage Dheena
Gin Dhage Dheena Gin
2. Dhage Dheena
Kin Dhage Dheena Gln
Take Teena
Tage Dhinna Ginna
Dhage Dhinna Ginna
Tinna s Dha Tirkit
1 Dhinna s Dha Tirkit
Tage Dhina Tirkit
Dhage Dhinna Tirkit
Tirkit Tak Tinna Tirkit
6. Dhak Dhinna
D h:gc N a D i ra Gi nna
1. Dhr nna s Dha Tirkit
D hage N a D ba Gi nna
Tinna sTa T i rk i t
Ti nna s Ta Ti rki t
S . Dhinna s Dha Gi n n a
Ki tta k Takit Takta Kittak
9. Dhai;it Takta
Kittak D hagc D heena Gi n
i u. Dhak ii Takta
K i tta k D hage D heena Gi n
Takit Takta

T H E K{ T AL .{ , R OOP .\K 7 \I.{TR { S

T his T hek a b e i n g o | Se v e n } Ia tra s i s c a ] l ej i ral fo| D eepC handi brrti tdi frer:i n
p l a y e d l t' n" i ai i v i rt B haj ansand Geei ; etc' It contai ns
n l o \ - m ent . T his ty p e o i l t .t" , a re (on l ' 4 and 6)' -
three :l r' J t* o ntatra)' 3 Tai ees
S€ \ . r ' of ilât r ês of T a l a ,3 b a rs o f T a l e l tl n e , called
lnatra. Tl::r: is l'-notllertlrclia oI Ssrne tnatras
as Khaleesci Talc.eand the san]eon itlst

Bolsof Theka-Tala RooPak

2 J
+ .li 6 I
2 1l

frlf. Dhin Dirin Dha Trik

Dhin Dha
T h e ka Ti r ra-l st
r')
t-
0
D h ee N a D hee N a
Tee Tce Na
B o l s o f T h e ka-Tal a Ti rra IInd
Ta Ti t K at Gadi Gi nna
Dha Dhio
Duggan Tals RooPak

Dhin Dba Tri k D hi n D hatri k D hrn D hi n D hatri k

Dhin Dha T ri k D h i n

3l
 Tiggan Tala Roopak
Dhin Dha Dhin Dha 7.D
Trik Dhin Trik Dhin
Trik Dha Trik Dha Trik S
Dha Dha Dhin Dha
Dhin Dhin Dhin Trik 8.D
ChauganTala Roopak T
I II
Dhrn Dha Trik III IV 9.D
Dhin Dha Trik Dha Trik Dhin V
Dhin Dha Trik Dhin T
Dhin Trik Dhin Dhin
Dhin Dha Dha r0. D
VI
VII T
Trik Dhin Dha
Dhin Dhin Dha
Trik
Trik
Tihai Tala Roopak
+ 2 popul;
Dhin Dhin Kit Tak Dha
Aa
3+
Dhin DhinKit TakDha
Aa Dhin Dhin Kit Tak Dhin
Prakar Tala Roopak first r
l. Teekra 'feetee
Natrak Dhee Nana Dhee Dbee
2. TeeTee Natrak Na
Tinna Dhe Dhe Natrak Dhee Dhee
3. Dheen Kridheen Na Na
Tirkit Dha Krinarin Dha Dha
Dhee Teena
4. TeeTin Kinta Tinta Dhin Dha Tit Dhin Dha Dha
5. Teen Kirnarjn Dhin Na
Tirakit Taa Kirnatin Dha Dha Teena
Peshkara Tala Roopak
0
1. TageNate t l.
Tittin Tatatin Dhati ta Dhin Dha Dhita Dhin 2.
dha
Dha Dba
Dha
2. Tittage Natatirkir Tirkittak Dbin
Ghidan Dha Dha TitgheGhe Nak Dhin
Dha
3. Tagente Tirkitin Tatakin Dhitdhage Nadha Ghaghetirkit Tirakittak
Tirkit
4. Titiata Tirkittin Tirkitta Dhina s Dba Tirkit
Dhadharirkit Taktatirkir
. Dhin
5. Tatakin Tikkin Tirkit ta Ghighinak Dhadhas Dhagendha Tirkitdhin
dha
5. Dhinna Kridhan Dhinna Kridhan Dhagan- Kiftakdhin Gintak
dba
Tinne Kritan Tinna Kritan Dhagen- Kit tak Gintak
dha dhin
32
 Dheekra Dhindha Tirkit Dhagtrik Dhingin
7. Dhagtrak Dhigagin
Tirkit Dhingin Skra Dhindha Tirkit
Skra Dhindha
g. Dhinna Natrak Dhagtirkit Dhinagina Dheçn Dheen
Dhee Dhee
Natrak Dhagtirkit Dhinagina Dheen Dheen
Tinna Teenteen
g. Dhadheena Kitdbag Trakteena Kittak Teenalit Dhagtrak Teenakit
Trakteena Kittak Teenakit Dbagtrak Teenakit
Tateena Kittak
Kara Dhudhe Nadhee Dheena Tirkit
10. Dhee Dheena
Kata Teetee Nadhee Dheena Tirkit
Tee Teena

TALA KEHARVA I\'IATRAS 8

are more
Like Tala Keharva two otber thekasof samematras i-e. Dhumali and Kavvali
popular in Indiao music. They are played rvith Geets,Bhajans,light songsand dances'
khali' Sam is on
They contain 8 mstras, two bars of 4 matras each, one tali and one
f ir s t m at r a.

Tala Keharva is played in 8 matras,4 matras and 2 matras'

THEK.{ TALA KEHARVA MATRAS 8

12345678
Dha Gc Na Tee Ta Ke Dhin Na

THEK.{ TALA KEHARVA MATRAS 4

+
l. Dha Dha D hag N ak
2. Dha Ge \a Ke

THEK.{ TALA KEHARVA I\TATRAS 2

--
Dhag Nak

Duggan of Tala Keharva

+0
Dhiona Dhage. Natee Take Dhinna
l. Dhage Nalee Take

THEK.{ TALA DHU\IALI trlATRAS 8

+ D hi n D hage Ti rak
Dha Dhin Na Tin Ti rak

Duggan of Theka Tala Dhamali

+0 Natin Trikdhin Dhagctrik
Dhadhin Narin Trik Dhin Dhage Trik On"alin
 THEKA TALA KAVVALI
}TATRAS8
+ 0
Dha Dhin Dha Dha Tin
Tin Dira Dha
0
Dugganof ThekaTafa Kavvali l. Dha
+
Dhadhin Dhadha Tin 2. Nag
Tin Dha Dha 8Ou on,n
Dha Dha Tin Tin Dha Dh:
THEKA TAL.{ JHAP }r.{TR.1^S
1O
T his t hek a i s p l a ,v e Crv i th c h h o ta Kh ry a l , +
wi th t hat of c ar nel . Geet and B hrj ansetc. I t s l. Deer
It c o n ta i n sfo u r b a rs o f Ii:6vsln..,rt resentblls
a n c p os s es s :tshr ee Ta ri tw o matras each and tu,o
p c i n t a n d o n : K h a i i p c i ,r t. oi' three nlatras eacl.l Dha
S rm i s orr fi i st nfrra.
2. Dhe
Bols of Theka Tala Jharr Dha

il)
+
lt ?t
0
Dhee
Ja
5e 1. ;,
\a Dhee Dhee
,!)

9 ;C
Na Tee Na D hce D i rec \a 2. D."ra
(2) 3. Tirk
2
Dhee 0 a
Dhee Trak Dhee N;r Tcc Tce frri I)L-c \a .
I
(3)
Dh ;'e n l. Dirc
T ir ak it D h :: Nr D h een Tira kit Tr,i n ,)
Trr-:rkitDhre lra
r'\l.a

D u g g a no f T h e k a Tal a Jhan 3. Dhe

+ 2 4. Dhc
Dheena Dree Dhee 0 {
Nate: N a d h e e D h e e n r -\ttee 5. Dht
D heena D h:l dh:
NrCh:s Di:::n:r
Tiggan of Theka Tala Jhap.
-i-
n -î
I
2 l. Dh
DbeenaDbee J
4
Dheenaten Nadhindhin 5 DI
Teenadhee Naciheena D heedbeena
DheenaChee NadheeChre Ta
N:tcen;r D heedheenr
,i 2. Til
Chauganof Theka Tala
Dheenadheedhee Nateenadhee
Dheenadhee dhec Nateenadhce
Dheena Dheena
Jhap
D hadhecnatcc D hadheci ;.ene
il
ill
.ti
3. Dt
D}
DheenaDhecna
Dhcc l)hc-enatccN adhcc D hr.ene il Ta
:r4 I D}

Ii
I
I

I
 T u k a d e Tal a Jhap

U
l. Dhagent ir Kitdhage Tirkir Dhadha I trKlt
2
2. Nagt e3na K i d n a g ta ti r Ki tra k ri rki r Tal -:tati rki r Dhatirkittak

Mukhade Tala Jhap

- i29
I. Dcen Deen Titakit Gheghetit Gheghetlun Deenkra Dban Dhan Ghakra Dhan Dhan
I ) hak r a Dhan Dhan
.,
Dhetta Dhit tit Kradhe Aatdlra Ginakidnag Tirdkitakdhir Kittakdhari
Dba A adhi r K i rta k d h a te eD h a A a d h i r K i ttakdh;,ti

T i h a i îal a Jhap
0 J

l. - - 2 s r ir
Dh: Ki t-ta k Dha Aa D h a g ti r K i r-tak D ha Aa Dhagtir Kit-rak
2. Dbr iba Ti rk i t Dha Âa Dhadlia Ti i ki t D ha Aa Dhadha Tirkrt
i. T ir l: : Kdan Dha Aa T i rk i t K dan D ha Ae Tirkit Kdan

Pra k a r Tal a Jhap

+2û
t 23456789 1 0
l. Dhr':a Natra Dheckra DireedheeNana Teen Nana Dheekra Dheedhee Nana
2. Dhe: Nana Dheekra Dheedha Nana Teetee Nana Dheekra DheendheenNana
3. Dhe: DheedirecNana Direedhee Nana Teen Teen teen Nana Dheedhee Nana
4. Dhee Tirakit Dhee Dheena Tirkit Teeka TeenieenDhadha Dheekra Dhindhin
j. Dbr:n Tirkir Djree N: Dhee Teen Teentage Natatirkir Dhee Na

Pesbkara îala Jhap

-i_I

l. Dhadha Dhinna Dhatee D h a d h a D hi ndha D hadha D hi ndha D hatee

Dhadha D h i n d h a
Tata Tinta Tatee Tata Tinta Dhaciha Dhindha Dhatec Dhadha Dhindha
2. Tikitak Ginta Aa Aa Dhatee Aadha Teedha Tinta Tateen Tata Tinta
Dheirak Dhadhatral: D h i n n a a d h a Ti raki rl haj ha D hi nnati t Trakti nna
Dhindha Dhatrak Tintit Trakdhi n
Tarrak Tatatrak Tinna Aadha Tiradhadha Dhinnatir Tintrak Teenaein
Dliagendha Gegegege Trakdbindlia

i 35
 4. Dheekdhindha Dhasendheedheenak
Aadhadindha Dhikitatgen Dhareedhatee
Titatinteenagin
Titaihidnag Kittakteen
oiuiiln"g" Dhadhadindha
5. Tirakit Dhadha Dindha Tirakit Dhadha
Aadha DhinCha Dheeka D hi ndha
Dhindha
Titatita Tinta Trakteen Teentrak Dhindha
Dhindha Dheekra Dhindha A adha
Dhadha

KayadaTala Jhap
named
(l)
l. Dhintrak Dhingin Dhageteena
frak Dheena Gintrak Dhindhage
Trakdhin Teenagin DhagendhaAadhagen Khali

Dhingin Trakdhin Gintrak I

Dhagtrak Dhingin DhagendhaGindhage
TrikdhageDhingin Dhagetrak Dhin
Tirrkin Traktin Kintiak Tagtrak
Dhingin Dhagendha
Gindhage
Trakdhage DhinginDhagetrak

I Dbin
Dhidnag Tirktit Takdha Teedha Gin Dhage Katta
Trak Dhinna Dhinna
Gin
Dhatee Dhage Nadha Teedha Gin Dhage Tit Kridha
K idnag T i ra k i t Tit Ghi,jin
T a k ta T e e ra Kin Tage
Dhet ee Ti nne Trak D h:nna Gi n
Dhage N a d h a T e e d h a Gi n OÀ age Tj t K ri dha Tj t Ghi ci en
4. T r ak dhin n a G i n n a rra k D h a g e ti t Dhin
Trakdhi n Gi ndhage N adha
Dhagetit ,{ adha Trakci hi nna
Dhaeedhinna Ginnatrak Traktinna
Kintrak Ginnatrak Tagetit Traktin
Nacia Aadha Trakahinna oiragait
Dhagidhicna Dhinnatrak
5. Tirakitdhati Dhagendba Karta
Teedhagin Dhateegin Teedhagin
Teetakin Tirkirtati Takenrra
Dhateegin Teedhagin

(2) Dhin
I
Dhat ir Ki tta k Toon;
D h a ti r K i ttak D hi nna Gi nna
Tatir D hati r K i trak
Ki tta k T a ti r Dbin
K i ttak Tati r K i ttak D hi nna Gi nna
Dhatir Kirtak Tatir Kittak Toon
7 Dhatir Ghirnag Taktit Ghirnag Takrit Ghirnag Dharir
Ghirnag Tinna Gina Tatir Kirnag
Taktir Taktir Ki,Cang
Ki d n a g Dhatir Ghirnag Dha
Tina Ginaa
Kidnag Tirkir Tagtir Kittak Dhatit Ghidnag
Dhat ir Ghidnag Kidnag Kidnag Tirkir
Taktir K i tta k ]1ona Dbac
D h a ti t C hi dnag D hati r Ghi dnag Ti na K i dnas
36
 Taktir Kittak Tirkit Dhatir
Tirkit Tirkit
4. Dhadha Taktir Kittak
Kittak Taktir Kittak
Kittak Dhatir
Tak Dhatir Tirakit Tata
Dhatir Kitdha Tirkit
Taktir Kittak Tirakit Dhatir
Tirkit Tirkit
Kittak Dhatir Tirkit

THËKA EK TALA MATRAS 12

Khayal Gayakis. The other form of l2 matrastheka is

This tala is played rvith Bada
*itir Dbrupad Gayan'
narnedCtrartalrvhich is plal'ed

I t c ont ain s 1 2 ma tra s d i v i d e d i n 6 b a rs o ftrvomatraseach.ItbasfourTal i andtw o

iriatra'
Khali points. lts Sam is on first
O 7 8 9 l0 11 12
I 2 3 4 5
Ka Ta Dhage Tirkat Dhin Na
D hin Dhin Dhagc Tirkat Too Na
I
I
Duggan Theka Tala Ek j

Ti rkat-D ni nna D hi ndhi n D hage Tr' rkat Toona

D hin Dhin Dhag eT i rk i t T o o n r K a tta D h a e e
Katta Dhage T irk i t D h i n n a

liggan of theka Tala Ek

0 2
,.) 34 56
io

Dhin Dbin Dhag e T i rk i t T c o ra KarraDtagc

Tirkit Dbinna D hi n D hi n D hageTi rki t Toona
J
ç
9 l0 ll 1)
78
K atta D bage Ti rki t D hi nna
KattaDhage Tirkit Dhinna D b i n d b i n D h a ge TrrLi t Tccna

Chaugaoof Theka Ek Tala

D hi n D hi n D bage Ti rki t
Dhin Dbin Dhage Tirkit Toona Katta Dhage Tirkit Dhinna
Toona Katta Dhage Tirkit Dhinna
Dhinna Dhin Dhin Dbage Tirkit
Dhin Dhin Dhage Tirkit Toona Katta lrbage Tirkit
Toona Katta Dbage Tirkit Dhinna

THEf,A CHAR TALA I\IATRÀS 12

Kit Tak -Gid Ginna
D ha Dha Dhin Ta Kit Dha Dbin Ta

Duggao Theka Cbar Tala

Kitdha Dinta Kittak Gidgina

Dbadhe Dinta Kitdha Dinta Kittak Gidgina Dhadha Dinra

5t
 TigganThekaCbar Tala
Dhadhadhin Takit Dha Dinrakit
Dintakit
NakgidiGinna
- * Dhaohadhin Takitctha t. r
Nakgidgina Dhadhadhin fatiiat a- Dintakit Nakgidgina 2.t
I
ChaugaaTheka Chartal
3.f
-1 0 I
l23q
2
56 4.D
Dhadhadinta, Kitdhadinta Kittakgidgina X
Dbadbadinra Kit dha dinta Kit
tak gid gina
3 5.D
739t 0
4
ll T
Dhadhadintl t2
Kitdhadinta Kittakgidgina Dhadhadinta Kitdhadinta Kiffakgidgina

Tbeka Ek Tela t.T

+ 02034 2.K
t2 3 4 5 6 7 E 9 t0 ll t2 5. l\
Dh in D hin Dhage Trakat Too Na Ka Ta Dhage Trakat Dhin Na

Tihai Theka Ek Tata Dhama

l. Dhagt it differer
Dhagtit Dh: Da Da Dhagtit Dhagtit Dha Aa Aa Dhagtit Dhagtit signs <
2. Dhat ir k i t Tatirkir Dha Aa Aa f)hatirkir Tatirkir Tak Dha Aa
Aa Dhatirkit Tarirkir thekas
Hori f
pesbkarThekaEk Tala

_r_02334 I
-1-

I. Dhit, Dhagadha,Dbindha.Dhati,Dhadha,Dhindha, I
Tinna,Takara,Tinta,Dhati,Dhadha, I

Dhindha. Ka
2. Dbit, Dha-eadha,
Dbindha.Dhit, Dhaladha,Dhindha,Tit, Takata,
Tinta,Dhit, Dhagadha,
Dhindha. .I

3' Kadhi
Dhir, Dhagadha,Tirakit, Dhindha,Tita, Takata,
Tit, Dhagdha,Tirakit,
3lr:'u?"1"r"dha'
4' Dhit, Dhagadha,Dhindha,Dhati,Dhadha, -ï
Dhin, Dha, Dhit, Dhagdha,Dhindha,Dhati,
Dhadha,Dhindha. I
Tit' Takata,Tinta, Tati, Tara,Tinta, Dhit, Kadh
Dhagdha,Dhiodha,Dhati, Dha, Dha, Dhindha.
5' Tirakit, Dhit' Dhagdha, Tirakit, Dbit, 0
Dhagdha, Tirakit, Tit, Takata, Tirakit, Dbit, I
Dhagadha.
G at it :
 Kayada Theka Ek Tala

l. Dhag, Tit, Dhag, Nag, Tina, Katta, Tag, Tit, Dhag, Nag, Tina, Kata.
2. Dhagtit, Dhagtit, Dhagnaga, Teena Katta, Dhagnag, T€ena Katta, Nagtit, Tagnag,
Dbagnag, Teenakatta, Dhagnag, Teenakatta.
3. Dhagtit, Dhagnag, Teena Katta, Dhagnag,Teena Katta Dhagiit
Nagtit, Tagnag, Teena Katta, Dhagnag, Teenakatta, Dh,rgtit.
4. Dhagtit, Dhagnag, Teenakatta, Dhagtit, Dhagnag, Tcena Katta, Tagtit, Tagnag, Teena
Katta, Dhagtit, Dhagnag, Teena Ka(a.
5. Dhagnag,Teena Katta, Dhagtit, Dhagnag, Teena Katta, Dhagtit, Tagnag, Teenakatta,
Tagtit, Dhagnag, Teenakatta,Dhagtit.

Paran Theka Ek Tala

l. Tirakit, Takta, Kittak, Taktir, Kittak, Tirkit, Takta Kirtak, Tirakit, Takta, Kirtak, Tirakit

2. K it iak , T ir ak i t, T a k ra ,T i ra k i t, T a k ra , K i rtak, Tagti r, K i ttak, Ti rki i , Takra,Trrki t

3. K dan, T ir ak ir , T a k ta , T i tta k , D h a , T i ra k i t, Takra, Ti rat3k, D ha, Ti raki t, Takra, K i tak.

TALA DHAMAR }'ATRAS T4

Dh a m ar , Deep Ch a n d i , J h u ma ra , a n d Ad a c h autal contai n 14 matras each but there i s a

differencein their bars and the positionsof Tali and Khali and that ctifferenceis indicated b,vthe
.and
signs of Tali Khali on every Theka of Tala. Srn of every Tala is on first rnatra. Thc
th e k asof Dham ar , D e e p C h a n d i a n d J h u ma ra are usedi n H ori Gavan rvhi l eA ada C hautal i n
Ho ri Dhr uoad.

THEKA TALA DHA}IAR \TATRAST4

: 203
I
z) 4 5 6 7 8 9 t0 ll 12 13 14
Ka Dhi Ta Dhin Ta Dha Aa Ga Ti Ta Ti Ta Ta Aa

Dugganof ThekaTala Dhamar

20
Kadhi,Tadhi,Tadha, Aaga, Tita Tita Tada Kadhi TadhirTadha Aaea Tita Trta Ta Aa

Tiggan of Theka Tala Dhamar

:
2
I I
I
J 45 61
Kadhita Dhatidha Aagati Tatita Ta Aaka Titadhi TaChaDa
0 3
e
9 l0 ll 12 t3 t4
Ca ti t a Titata Dagati Tadhita Dha Daga Titati Tata Aa

39
 Tbeka Tala Deep Chandi
+ 0
| 2 3 4 5 6 7 I 9 l0 1l t2 13 14
Dha Dhin Aa Dha Ge Tin Aa Ta Ta Aa Dha Ge Tin Aa

Duggan of Theka Tala Deep Chandi

-T- 3
1234567
Dhadhin Aadha Getin Asta Tin Aa Dhaee Dhin Aa

8 9 r0 tl t2 13 l.{
Dhadhin Aadha Getin Aata Tin Aa Dhage Dhin Aa

Tiggan of Theka Tala Deep Chandi

r?34557
DhadhinAr Dhagetin Aatatin Aadhage Dhin AaDha Dhin Aa Dhagetin
Aa

89l0illt1314
Tatin Aa Dhagedhin AadhadhinAadhage Tin Ala Tin Aadhn GedirinAa

TI]EX.{. TAL.{. JHU}IARA }IATRAS 1{

+
| 2 3 4 5 6 ? 8 9l0 il ll 13 l-t
Dhin Dhin Nak Dhin Dhi$ DhaseTrikat Tin Tin Nak Dhin Dhin DheeeTrikat

Duggan of Tala Jbumara

J-
2
1234567
Dhindhin Ak<ihin Dh:ndhaee Trikat Tin Tin Nak Dhin Dhin DhaeeTrikat

8 9 l0 ll t2 i3 14
Dhindhin Nakdhin Dhindhage Trikadatin Tirnak Dhindhin DhageTrikat

THEK.{ TALA AADA CHAL]TALA}{ATR.{S 14

+2 03040
|2 3456789t0n1213t4
Dhin Trik Dhin Na Too Na Ka Te Trik Dhin Na Dhin Dhin Na

4
 Duggan of Theka Aaila Chsuta

+203
-134567 Dhinna
pnioo" Toona Katta Trikdhin Nadhin
Jniotrit
940
oe10ll121314
Katta Trikdhin Nadhin Dhinna
piintrit pninna Toona

Tihai Aarla Cbautal

Kit Tak, Ta, Kit.tak, Dha, Tita, Kit.tak, Ta, Kit-tak.

1. Tita, Kirtak.Ta, Kittak, Dha, Tita,
2.Titkat,Gadgin'Dhatit,Dhatit,Dha,Trtkat,Gadgin,Dhatit,Dhatit'Dha,Titkat,Gadgin,
Dhatit, Dhatit.

3.Dbadhadha,Trrakitta'Dhadbinakat,Dhadbinarol,DhaAâ'Dhadhadha,Tirakitta'
Dhadhinakat,Dhateerakat'
Dhadhirakat,Dha Aa, Dhadhadha,Tirakitta,
Dhadbinakat,
4.Kittak,Tirakit.Nagatak,Tirakit,Dha,KitTak,Tirakit,Nagnag,Tirakit,Dha,Kittak,
Tirakit, Nagtag,Tirakit'

5.Tikdan,'Dhatit,Dhatirkit,Dhatit,Dbadhadha,Tikdan,Dhatit,Dhaorkit,Dhatil'
Dhatit'
Dhadhadha,Tikdan,Dbatit' Dhatirkit'

Tookade Aaila Cbautal

Tirakit' Nagnag' Tirakitta'

1. Dha, Dbadba,Dheen,Dbeendheen'
Kittak' Gidan' Teena'
2. Nagnag,Tirakit, Takta,Tirakit,
Tata Dbidan' Dhati'
3. Gidan,Tirakit, Nagtak,Tirakit'
Dhatura' Dhintadan'Nagdhetta'
1. Dbagige,Dhagetit,Kridhe Aa' Dhatit'

5.Ghidnag.DhadhaKridha,Titatita,Dhirdhirkittak,Tatirkittak,Dira<ihadhadha,Nagnag
nagnag.

PeshkarAada Chautal

Dhaciha'Dhindha
1. Dhati, Dhadha,Dhindha,Dhaii' Dhati'
Taii TateTinta Dhali Dhati Dhadha Dhinda

Dhindba'
2. Dhag,Dhatia,Dhindha,Dhati,Dbati'
T ak, Tati, Tinta, Dbati, Dbati, Dbindha'
Dhadha'

{l
 3'
3*i":ffiï'.?ïillDhindha,Dhati,
3ffËiï1, oo"t",Dhati,
Dhadha,
Aadha,
rira,
Aadha,Tira,D6ag1a, Tata,Tinta,t"ri,i"à,'oilti,
Dhadha,on,Ti#'Takena, ohadta,
4. Dhadtra,
On,r-Ot?O:ti, Dhadha,
Dhati,Dhati,Dhadha,
t"àlîi*.,?^n,T|1, Aadha,Dbindha,Dhag,
3ÏT;i|it'"'otioau, rari, rara,;;;, Aadha,
Dhindha,
ùa* ohati,
5. Dhati, Dhadhr
Aagheghe, Dhadha.
Dhindha,
rari, rara,rinra,
""hi,i':iii.fjt3,i,l?0"*akdhin,
KayedaAada Chautal
I. Takdhin, Dha
-gendha' Dhagitirkif' Teeragin
Dhagitinkat enakin, Trakatak, Teenagin,
Dhirkirdha, OneenJgin Takdhin, Dhagendha,

Takteen,Takenta, "i"*"ir"t,'Orr"rnug;o. K1
Taketrakit, Teenakin,
Dhagetrakit,Teenakin, Traktak, Teenakjn,Tak Dhen, thi
OniratitAia, Ol..nugio, Dhagendha,
Dhagetrak,Dheena_ein. tb:
2' Katakadhi' Nugtlt' Dhatrakiddhæ'
*1.0,"f, Dhatrak<rhit,
"î.;i:;:,, Dhitdhirkittak, Dhitdhirkittak, Ba
;liiiil1i.,,,Ti.o,"o,
"'.u.--?Jr-, iiratrarout,
io,,o,i,,o,n"u,
3' Dhagtit' Dhintin,.Dhatidhage,
Nadharit, Dhinteeoa,Dhatidhage-
Tatitage, Nadhatit, ge' Nrrrhori+
Nadhatit. \r^ _.. --
Nagtir, -+-
otr;ntee'oa, oi;iton"--., Teenakin
Naihatir.
I
4' Dhatrak' Nakdbin, Db
Katakadho,
Naktak,-D_hivdhirtittak,
I
Naktak,orr"tt.*n", ^'"*og,
Dhatrakatlhi' Tatirkittak, Karakadhi,
Naktak,
Naktiir,Karakari,Naktakar oo,*ii.ïii-,rr.,
"*",.*"r,, Tatir kit tak, Tatrakari,
. tirititr'ot, rrri, ur,
Nakataki,Dhagheghe, Nuk rak, Dbatrakadbi.
Nakdhin,Dnr, On,,kit tak, l
Tatir kit tak.
s'
?#:"'-îrii1iî,ïi"l,"iiiç"îi.ffir;$rïiJ*-dhin,Dhagarit,
chin'in,
rirgin,
D
Rela Aada Chautal

t.
Slil;fîlli,li;#llit'. Dhidnag,
rirakit,Ghidnag,
rarit, Kitdha,rirakit,Dhatit.
2-
""i:ii 31"::Ë Dhatir,
Ghidnag,
rirakit,rati,Kidnas, DJ
l:l;,I'o"a*e, reena.
Kidnag,
 3. D'hatit, Dhidnag, Teena, i(idnag, Dhatit, Ghidnag, Dhatit, Ghidnag, Teena Kidnag,
Dhatit, Dhidnag, Teena, Kidnag, Tatit' Kidnag, Teena,.Kidnag, Tatit, Kidnag, Tatit,
Ghidnag,Teena,Kidnag, Dhatit, Ghidnag,Teena,Kidnag'
/l
Dhatit, Ghidnag,Aatit, Ghidnag, Aatit, Ghidnag, Titaghid' Nagtit, Ghidnag, Teena,
Dhatit, Ghidnag, Teena, Kidnag, Tatit, Ghidnag,Aatit, Kidnag, Aatit, Krdoag, Titaghid
Nagtit, Ghidnag,Teena,Dhatit, Gbidnag,Teeoa,Kidnag.
Dhada,Ghidnag,Tak, Ghidnag, Takghid, Nagtak, Ghidnag, Tirakit, Dhatit, Ghidnag,
Takghid,Nagtak,Teena,Kidnag,Ta Aa, Kidnag, Tak, Kidnag, Takkid, Naktak, Kidoag,
Tirakit, Dhatit, Ghidnag,Takghid,Nagtak,Teena, Kidnag'

lAL TEEN MATRAS T6

ThekaTeenTal contains16 Matras having4 bars of 4 matras eachwith 3 Talis and I

Khali point, Sam beingon first Matra. Ou accountof regularBov€mentof Matrasand Rhythm
this Thekais gore populal. The :novementof this Theka is more popular and is comparedwith
rbat of horse. This Thekais piayedwith cbhote Khayalsand Bhajans.
Tbe two more popularThekasof l6 MatrasareTalwara and Punjabiaad arc playedwith
EadaKhayal.

THEKA TAL TEEN 1IIATRAS 16

+ 203
t2 3 4 5 6 7 8 9 l0 l1L2 1314 15 16
Dha Dhin Dhin Dba Dba Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dbin Dba

DuggaoofTal Teen

+ ) 6 7E
t
I 345
Dhadhin Dhindba Dhadhio Dhindha Dbatin Tinta Tadhin Dhindha

9 l0 1l t2 13 l4 15 16
Dbadhin Dhindha Dhadhin Dhindha Dhatin Tinta Tadhin Dhindha

Tiggan of Tal Teen

123 456
Dhadhindhin DhaDhadhin Dhindbadha Tintinta Tadhindhindha Dhadhadhin
789 10 11 12
Dhindbadha Dhindhindha Dhatintin Tatadhin Dhindhadha Dhindhindha
13 I4 15 16
Dhadhindhin Dhadhatin Tintata Dhindhindha

43
 Chaugan of Tal-Teen
2. Dha
olaannlairinaha Dhaa2hindhindha
oi,a?intiot" raon;nafinoha ohaahiidhindha
3. Kat
6
Dhadliindhinaha
ohatiTntinta
Tadhinoularr"onuiuoaninanu 4. Kat
ouuaJilonindha
Dh#ntinta
12 13 5. Dhedl
TadhindhindhaDhadhindriindha 14
otraduinàrinana Dbed
nutliirint" ruoniroXnioanu
I
MUKHRA TAL TEEN MATRAS
4 6. Dhit
I
23
l. Dhadha 4 :
Titkit Dhadha Kad
Tirkir
2. Tikad
Tinna Tikad Tinoa
3. Dhadha Teena 7. Kidt
Dhadham Dhadham
4. Dhatir Dhatrt Dhadha Ti tki t Ti
5. Dhindhin
Ta Aa Tirltit Gidighina
I\IUKHRA TAL TEEN }IATRAS E. Tirl
8
1234507
t. Dhage Tinna 8 Tir
Kidnak Tatir Kirtak Tirkit Takta Kittak
2. Tirkit Nagtar Kidnag 9. Ti
Tigtar Kicinag Tirkir Taktar Kidtak
3. Tirkit
4. Katit
Takta
Dhadhin
Kitrak
Tana
Nagtar Kittak Tirkit Dhindam Dhadha I D

10. D

5' Ta rinna Kidnak

Kidnak
Tinna
Tirkit Nagtag Tirkit Dhadha .lI D
lrikdhi Natrik Dhina Tirkit ,I
:I
it
TEHAI TAL TEEN MT,TRAS E .il
il

r 2 3 +5 6 7 s GI
'''ÈJ

9 1. f
l. Gadi Ghina Dha Cadi Ghina Dha Gadi Ghina I
2. Dha Dha
Trikit Dha Dha Tirkir . Dha Dha Tirkit Dha 2 .r
3' Dhadha Tirkit Dha Dhadha Tirkit Dha Dhindha Tirkit I
Dha
4. Ta Tirkid Dhadha Ta ïrkad DhadhaTa Tirkad
3. I
Dha I
5. Dhin Dbin Ta Dhin Dhin Ta Dhin Dhin Dha Af
rt. r
TIHAI TAL TEEN MATRAS 16
| 2 3 4 5 6 7
r' Tit kat 3 9 10 ll t2t3 t4 15 l6 S!
gina otra i ri, Èat éaoi g;a
-sade rir" s Tit kar galdi
Siaa Dha
u
2.DhaTirKitTakDhaSDhaTirkatTakDhasDhTirkitTakDhaDha
Kat Dhas S Dha
Tirkit Kat' Dha S Kat Tirkit Kat Dba S Kat Tirkit
3. Kat
Kat
Ëat Tirkit Kat Dha S Kat Tir Kit
4. Kat Tirkit Kat Dha S
S
Dhedhe Tirkat Dha S DbedhaTa S DhedhaTirkat Dha
5. Dhedhe Ta S
DbedhuTa S Dhedhe Tirkit Dha'
123456?89 Dhet Dhet Dhetdhit
Kadan Dha S
6. Dhit Dhit Dhitdhit
14 15 16
l0 1l r2' -l-3 Kadam
Dhat Ohet Dhitdhit
Kadam Dha i"
5 6 8 e
r 2 3 -.7 S fian"g Tirkit Nastas
Tirkit dnu
7. Kidnag Tirkit t(ug",
13 i4 15 16
10 ir t2 Dha
î Kidnag Tirkit Nagtak
Tirkit Dhb

1734s6789 Kittak
Tirkit Dha S Tirkit Takta
8. Tirkit Takta Kittak
15 16 17 18
ll 12 13 14 Dha
Tirkit fatta Kittak Tirkit
Tirkit Dha ï
Dathi Dha S Titkat Gadigina
g. Titkat GadiginaDhati Dha S Tirkit GediginaDhati
Dhati Dhati Dha

l0'DhinkdbiNakdhidhiNakdhinDhatiDhaSDhinakdhiNakdbadbaNakdhinDhati
Dhati Dha S
Dba S Dhinakdhi Nakdhindhi Nakdhin

PARKAR TAL ÎEEN

t')3456?E
I iJ '

Dhadhe Dhin Dhindhin Dha

1. Dha Dhin Dhindhi Dha
Tata Dhin Dhindbin Dha
Dba Tio Tintin Ta
Dhindbin' Dha Dhindhin Dha
2. Dha Dhin Dhindhin Dha
Tintin Ta Dhindhin Dha
Dha Tin Tintin Ta
Dbikad Dhindhin Dhadha Dhin
3. Dha Dhikad Dhindbin Dhadha
Tata Tirkad Dhindhin Dbadha Dhin
Dhor Tirkad Tintin
Dha Kridhin Dha Dba
4. Dha Dhadha Dhindha Dhindba
Tintin Ta Kridhin Pha
Tata Trn Ta

5'DhaDhinDbagindhaTirkitdhinDhadhaDhindhin.sDhaDhindha Dhindha
Dbiodbin DbintrkadS Dba
Dhatin Ti.rn:rt Tirkititin Tala
'45
 Tirkit Dhin Dha Trik, Tak Dhin Dhin lirkit Tin Trik TeenaTirkat Dhin îrik
Dhin Dha I

7. Dhadha Dhhgindha Trikitdhin Dhindha S Dha Tirkitdhin Dhagindha Dha

Tirkittin Tata, Tagenati,Taktrik rintin Dhadhinak, Dhudhinak Dhadha Dhurdha
6.Dhatit Dhatit Dhadhin Dha s Dha Dhadhin Dha Dhindha
Tatit Tatit Tatin Ta S Dha Dhadhin Dha Dhindha
Dhati
9. Dhadha Dhin Dha Dhin Dha Dhadha Dhiodha
Ta Tintin Tatatin Dha Dhindhin Dhadha 9
Dhin
Dhati
10. Dba Tirkit Dhin Tirkit Dhiodhin Dhadha Dha Dhin
Dha Tirkit Tin Tarkar Tintin Dhadha Dha Dhin

Peshkara Tala Teen

Dhati
l. Dhage Dhatin Dhadha Dhundhin Dhadha Dhari Dhadha Dhundhi
Turkit girnag Tata Tinta Dhadha Dhati Dhadha Dhindha Dhad
2. Dhage Dhati Dhadha Dhindha Dhadha Tirkat Dhindha Dhate
Takc Tirkit Tata Tinta Dhadba Tirkat Dhindhi Dhate Tatirl

J. Dhindha Dhati Dhadha Dhindha Dhare Dhate Dhadha Dhindha

Tinta Tati Tati Tinta Dhati Dhati Dhad
Dhadha Dhinta
Dhakad Dhindha Dhadha Dhindha Dhadha Dhukad Dhadba Dhiata
Dbadha Tirkad Tata Tinra Tirkad Dhadha Dhat
Dhakad Dhuta
Dhadhin Dhadha Dbir Nakdhin Dhadha Nakdhia Dhadha Dhin Dhat
Tata Tirkad Takdhin Tara ;\akdhin Dhadhia Dhadha Dhin

Kayda Tal leeq Dhat

t. Dhage ïirkit Dhagc Tirkit Dhage Tirkat Tinna Gin

Tagi Tirkit Tagi Tirkit Dhage Tirkit Dhai
Dhiaa gina
2 . Dhio Dhage Nadha Tirkit Dbage Tirkit Tinna giû
Trn Tage Nata Tirkit Dhage Tirkit Dhin giû
Dhin Dhin Dhage Nadha Tirkit Dhin Dhin Dhagc
Tin Kin Tage Nata Tirkit Dhin Dhin Dhage
It{ati
4. Dhage Nadha Tirkit Dhage Dbin Dhage Nadha I lrKrt
Tage Nata Tirkit Tage Dbio Dhage Nadha Tirkit \{atr

Dhagendha Tirkitdhage Dhagenadbi Nagdbin

Takdhin Ghntirkit Dhinadhidhi Nagdhio
Tagenat Tirkitgeta Taginati Naktin
Ital
Takdhin Gintirkit DhindhindN Nakdhin
 THEKA TAL TALWADA MATRAS.16
18 14 15 16
t1 3 455789101112
Dha Tin Tin Ta Tirkit Dhin Dhin Dha Dha Dhin Dhin
Dha Tirkit Dhindhin Dha Dha
DUGGAN TATA TALIT'ADA I\{ATRA 16
8
I 2 3456'1
Tatirkit Dhindhin Dhadha Dhandhin
Dhatirkit Dhiodhio Dhadha Tintin
l2 13 t4 t5 16
9 10 1l
Tatirkit Dhindhin Dhadha Dhadhin
Dhatirkat Dbindhin Dhadba Tintin
CHAUGAN TALA TALWADA MATRA 16
A

I 2 J

Tintinta Tri katadhi ndhi n

Dhatirkitdhin Dhindhadha
6 I 8
5 Dhatintin
Dhindhatirkit Dhindhindha
Dhadbadhin
10 11 t2
9 Tirkitdhindhin
Tatirkatdhin Dbindhadha Dhindindba

t3 1A
lt l5 16
Tintatirket Dhindhindha Dbadbindhin
Dhadhatin
A
I 2 J

Dhadhatintin Tati rki tdhi ndha Dhadhadhindhin

Dhatirkirdhiodhin
5 6 7 8
Dhatirkitdhindhin Dhadhatirtin T ati rki tdhi ndhi n Dhadhadhindhin

9 l0 1i 12
Dhatirkitdhindhin Dhadhatintin Tati rki tdhi ndhi n Dhadhadhindhin

IJ
11
l+ i5 16
Dhatinkardhindhin Dhadhatintin Tari rki tdhi ndhi n Dhadhadhindhin

BOLS AE 2i THEKAS
Talas)
(Popularandf nPoPular
ThekaTal liebarwa
-:- 2
It{atra 2 : l-)hqo Nag
r1 1 J- t| r
i-l

lr{atra 4 : l. Dha Gi Na Ke
:. Dhagin T i n akdhin Tagi n Ti nakdhi n
3. Dhage Nake Take Dbina

îr
rl 1? 1567 S
lrlatra 8 : Dha Gc Na tee Ta Ke D hi n Na

47
 THEKA TAI, DO MATRAS 5
+ I
Dhin Dhinnak Tak Dhin Na t. Dhi
I 2345 ., Dhi
THEKA TAL DADRA I\,TATRAS
'-r 0
I
I 2 345 6
l. Dhr
l. Dha Dhin Na Dha Tin Na
2. Dh;
2. Dha Dhin Dba Dha Tin Ta

THEKA TAL ROOPAK }TATRAS 7

I
I
-T- 2 3 Dh
I 234 5 67
1. Dhin Dha T ri k Dhin D hi n Dha Trik
2. Tee Tee Na Dhi Na Dhi Na
3. Ta Thum Na
DI
Dham Kit Gidi Gin

THEKA TAL TEEN TT.{TRAS7

Dl
+ 0
I 2 J 4 5 67
Dha Dhin To Tir Kat Gadi Gina
D
THEKA TAL PASHTO }'ATRAS 7

+ n
I 2 34 5 67
Ta Ke Dhin Dha Dha Dha Dhin Db

THEKA TALMOL trIATRAS 8

I 2 3 4 5 6 7 8
Kit Tat Tit Db
Ta Aa Dhit Dhir Dha

THEKA TAL NUSRAK ilIATRAS 9

1
! 2 315678 9 Ka
Dhin Na Dbage Tirkit Dhin Gin Tin Tin Ta

48
 10
THEKA îAL JHAP MATRAS
910
I z 345678 Dhi Na
Na Ti Na Dhi
Na Dhi Dhi
l. Dhi
Trik Dhi Na
Ti Ti
2. Dhi Dhi TrikDbi Na
I\{ATRAS 10
THEKA TAL SULFAKIITA
910
12345678 Tit Kat Gadi Gina
Ta Kit Dha
I
l. Dha Dha OOto
Dhin Dha Tirkit Tin Na
Dhin Dha Tirkit Dhin
Dbin
11
THEKÀ TAL KUMBHA MATRAS
9 l0 1l
12245678 Tat Kat Gad Gin
Dha Dhid Nak
Dha Dhid Tik Tat
12
TTIEKA TAL EK MATRAS

t)3 456789101112
Ka Ta Dhage Tirkit Dbin Na
Dhin Dhin Dbin Tirkit To Na
12
THEKA TAL CHAR MATRAS
Dha Dbin Ta Kit Tak Gadi Gioa
Dbin Ta Kit
Dhan Dha
MATRAS 12
THEKÀ TAL KHEMTA

r23456789101112 Te Dhe Na Te Ne
*" Te Ne Ta
Dha Te Dhe
MATRAS 13
TI{EKA TAL FARDOST

123456?8910111213 Ghio
Ti'tta Tirkit Dhio Dha Dhindhin Dha Ge Nag
Dhagi Tirkit Nagi flrtlt
I\IATRAS 14
TI{ELA, TAL ADA CHAUTAL

t234567891011121314 Na Dhin Dhin Na

Ka Ta Trik Dhin
Dhin Tick Dhin Na Tu Na
1.I
TI{EKA TÀL DHA"\IAR MATRAS
89101112i314
l?.34567 Ti Ta Ta Aa
Dha Aa Ga Ti Ta
Ka Dhi Ta Dhi Ta
49
 THEKA TAL DEEP CHANDI MATRAS T4
t2 3 4-5 6 7 8 9 l0 11-12 13 t4
Dha Dhin Aa Dhage Tin Aa Ta Tin Aa Dbase Tin Aa I
D
THEKA TAL JHUMRA I\{ATRAS 14
t

r23 4 5 6 7 8 9 l0 ll t2 13 14 D
Dhin Dhin Nak Dbin Dhin DhageThid fin Tin Nek Dhin Dhin DhageTirkit

THEKA TAL CHANCHAL MATRAS 14

123 4-5 6 7 8 910 l1 t2 t3 14 D
Dhin Dhin In Dhage Tin In Na Tin In Dba Ge Dhin In 1ç

N
THEKA TAL TEEN I\{ATRAS 16
| 2 3 4 5 6 7 8 9 l 0 l i t2 13 14 t5 16
l. Dba Dhin Dh i n D h a D h a D h i n D h i n Dha D ha Ti n Ti n Ta Ta D hi n D hi n D ha
2. Na Dhi Dhi Na Na Dhi Dhi Na Na f
Ti Tir".aNa Na Dbi Dhi Na
3. Dha T ak it Dh i n D h i n D h a D h i n D h i n D ha D ba Ti rki t Ti n Ta Ta D hi n D hi D ha 2l
t\
4. Dha Dhin T irk i r D h a D h a D h a D h i n T i rk i r D ha Ti n Ti rki r Ta Ti rki t D hi n D hi n D ha

THEKA TAL TALI\'ARD \TATRAS 16

| 2 3 4 5 6 7 8 9 l0 lt t2 i3 t4 15 16 t
Dha Takit Dhin Dhin Dha Dha Tin Tin Ta Tirkir Dbin Dhin Dha Dha Dhin Dhin
I
T
THEKA TAL PUNJABI \T.{TRAS T6
| 2 3 4 5 6 7 8 9 10 lt t2 13 14 15 t6
Dha Aa Dhinag Dha Dba Aa Dhinag Dha Dha Aa Tinak Dba Dha Aa Dhinae Dha

THEKA lAL RUDRA I\îAÎRAS 1?

l.
| 2 3 4 5 6 7 8 9 l0 1l 12 13 t4 15 16 r7
Dha Dhid Na Dhid Nak Dbam Kit Dhid Nak Nrk Dhum Kat Tak Dhum Kit Gad Gin 2.
3.
THEKA TAL ASHT N,IA:{GALI\TATRAS22 4.
s
| 2 3 4 5 6 7 E 9 10 lt
Dha Aa Dhe Na Ke Ta Ta Ta Dhin Na Ke
12 13 14 15 16 l7 l8 19 :0 2t 22
Ta Dhin Na Ti Ta Ka Ta Ge Dha Ga Na
1.
50
 23
THIKA TAL POORAN MATRAS
.\ 6189 l0 ll t2
1234 Dhe Na Ta Dhi E
Dha Ke Ta Ke Ta
Dha Aa
11 18 19 20 21 22 23
13 14 15 16
Ta Ke Ta Ke Tee Ta Aa
E Ta Aa
Dbi

THEKA TAL NAKSHATERI\IATRAS 27

|23456789101111213141516|7
DbaohinNakTakDhinNakDhaKitTakDhumKitTakTigDbinNagTagDhin
2s 26 27
18 19 20 21 22 23 21
Take Tidba Kit ShranDtrram Dba
ir"u XlJttam Tag Nag

THEKA T.\L AS.{VART!\{ATRAS30

|231567S910111l213141516171819
DhiTaKeDhiTaKeDbiDbiNaKeDhiDhiTaKaTiNaTiNaNir
21 28 29 30
20 21 22 23 24 25 26
Dhi Na Dhi Na
it, ot," Na Dhi Dhi Na Dbi

THEKA TAL SAVARIN1ATRAS32

891011 12 1314 1516l'1 ls

t2 3 4 5 6?
Dhi E Dhi E NA AA Dbi Dbi NA Dhi Dbi NA TiN TiTKit
Dhi E NA AA
29 30 31 32
19 20 21 22 23 24 25 26 27 28
Na Dhi Dhin Na
Tin Tin Na Tin Na Kat Ta Tirkit Dbin

Deûoite T1-pesof Tbeka

Tal Dadra

Dhee \a Dha Tee Na

1. Dba
Dhec \a Tcte Tee Na
2. Dba
Dhee Na Dhage Tee Na
3. Dhage
Dhee Na Dha Tee Na
4. Tirkit
5. Dha Dhin Dha D ha Tin Ta

Tal JhaP

2 0
l. Dhe Na Dhee Dbee Na Tce Na Dlree Dhee Na

5l
2. Dhin Nana Dhin Dhin Nana Tin Nana Dhin Dhin Nana
3. Dhinna Tirkit Dhin Dhin Na Tinna Tirkit Dhin Dbin Na

4. Dhin Tirkit Dhee DheeNa Tin Trikat Dhee Dhee Na

5. Dhin Na Dhin Dhin Na Tin Na Dhin Dhin Na

Tal EK Tala

+02034
l. Dhin Dhin DhageTirkit Too Na Ka Ta DhageTirkit Dhin Na

2. Dhin dhin Dha DhageTirkit Tirkit Toona Kat Ta DhageTirkit Dhee Na

3. Dhin Dha dhin Dba Tirkit Too Na Ka Ta DhageTirkit Dhin Na

Tal Char Tal _

--0 203 4
t. Dha Dha Dhin Ta Kit Dha Dhin Ta Kit Tak Gade Gina
Dhadha Dha Din Ta Dbage Tete Din Ta f it Kat Gade Gina
Dba Tit Din Ta Tit Dha Din Ta Tit Kr.r Gade Gina

Tal Teen

0
l. Na Dhee Dhee Na Na Dhee Dhee Na Na Tee Tee Na Na Dhee Dha Na

2. Dha Dhin Dhin Dha D h a D hi n D hi n D ha Dha Tin Tin Ta Ta Dhin Dhin Dha
3. Dhin Dha Dha Dhin D h a D hi n D hi n D ha Tin Ta Ta Tin Dha Dhin Dhin Dha

4. D h a .D h i n - Dha - D h a D hi n D ha Ta Tin - Ta Dhin Dhin Dha Dha

5. Dha Dhin Dhin Dha - D h a D hi n D ha Dha Tin Tin Ta - Dha Dhin Dha

6. Dha Dhin - Dhio D h a D hi n D hi n D ha Dha Tin - Ta Ta Dhin Dhin Dha

52