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How To Play Tabla - Book By Mamta Chaturvedi

Table Of Contents For 'How To Play Tabla' By Mamta Chaturvedi

	CONTENTS	Page No
1.	Tabla: The Instrument	9
2.	Parts of Tabla	11
3.	Postures of Playing 'Tabla	16
4.	Bols (Sounds of Tabla)	19
5.	Tala and Laya	24
6.	Tuning of Tabla	27
7.	Guidelines for Beginners	31
8.	Useful Hints on Maintaining Tabla	35
9.	Tabla Exercises	36
10.	Common Talas	38
11.	Some Hints for Practising	41
12.	Schools of Tabla Playing	44
13.	Basic Rules of Accompaniment	45
14.	Schools of Tabla Playing	46
15.	Other Famous String Instruments	70

Introduction To 'How To Play Tabla' By Mamta Chaturvedi

Tabla beats the heart of Indian music. The peculiar characteristic that distinguishes Indian music from other systems of music is its concept of Tala and hence of the Sam Point. It is the Sam which provides the check on the rhythm and moulds tunes in their given pattern of notes to a circular wavy form of sound. Upto medieval times Mridang and later Pakhavaj used to perform this function. With the advent of Tabla in the 14th century, and its gradual rise in popularity in the 18th century, Tabla assumed this role and started dominating over all the percussion instruments. Amir Khusro, the inventor of this instrument in the 14th century, could not have ever imagined in his wildest dreams the position now accorded to Tabla in Indian music. No song or piece of instrumental music or dance is complete without the accompaniment of Tabla. The variety of Bols produced and the convenience of playing on it have installed Tabla in the irreplaceable position in Indian music.

In view of the extreme popularity and the versatility of its accompaniment range, many lovers of music are quite willing to learn Tabla-playing. But owing to paucity of learned pundits and their ultra-fastidious approach in disseminating this knowledge, coupled with the nonavailability of relevant, easy-to-comprehend books on the subject, they are unable to do so. Hence the publishers urged the author to compile this much-wanted book. I deliberately use the term 'compile' because nobody can write an original book on the subject, howsoever tall be his claims. Even the all-time great artists like Ustad Ahmad Jaan Thirakawa, Chatur Lal, Kanthe Maharaja, Kishan Maharaja and Gudai-Maharaja always confessed that their prowess in the art is the resultant of their imbibing their Gurus, teachings and their devoted practice. So, whatever has been acquired through the grace of teachers like Pt. Kishori Lal Sharma of Moradabad, a disciple of Ustad Karamatullah, and through listening to various Ustads personally in music concerts or through radio and TV sammelans, is being reproduced in a nutshell in the book. It is earnestly hoped that this book would greatly assist the willing learner in appreciating this art with better comprehension.