Tuning the dahina is done by a hammer and is an art in itself which one learns by experience. The tuning pitch is inversely related to the diameter, which may range from under 5 inches to over 6 inches (smaller the diameter, higher the pitch). The tuning range of the dahina depends on its diameter.
The dahina is responsible for many of the resonant & high-frequency sounds (or bols). There are quiet a few prominent tabla players who play the dahina with their left hand and the bayan with their right hand. It depends on the tabla players basic instincts. However, it is not a rule-of-thumb that the dahina must be played with the right hand and the bayan with the left. The pair of drums consists of a high-pitched, right hand drum, the dahina (also called dayan or tabla), and a low-pitched, left hand drum, the bayan. Tabla comprises of a pair of tuned drums to be played with both the hands. Besides, over the years, it has also attained a coveted & revered status as a ‘solo’ instrument. classical, semi-classical, folk, dance etc. It is extensively used as an accompaniment instrument for time-keeping and embellishment in various forms of Indian music viz. Tabla is the principal North Indian percussion instrument. The Guru is able to figure out the strengths and weakness of his Shishya and tailor the Riyas sessions to address those weaknesses. The Riyas would largely involve playing the tabla, recitation of the compositions, contemplation, listening & observing other artists playing. To make the most of the Guru-Shishya relationship, the Shishya should complement his Guru’s teachings with devoted Riyas (practice). In the picture, students are being blessed by teachings from Late Ustad Allah Rakha Khan - The Legendary Tabla Maestro, at my Guru Pandit Shri Divyang Vakil's residence.Ī Guru, an exponent in the art & science of Tabla playing, builds up a strong technical and theoretical foundation in the Shishya (student), satisfies his curiosities, clarifies his doubts and makes the student capable of manifesting his creativity, thus making him capable to confidently take on the journey of Tabla. To successfully navigate through the arduous roads of Tabla, the guidance and blessings of a Guru is paramount. Advanced knowledge on Tabla playing should be obtained from a Guru. This blog in no way attempts to substitute or undermine the importance of tutelage from a Guru (teacher). Comments from pratictioners and music/tabla enthusiasts are sought. It draws from the hands-on experiences of the author. It would help to put in perspective the theoretical, conceptual and practical aspects of the art and science of Tabla playing and some of the possibilities of incorporating Tabla into fusion music. This blog - Understanding the Tabla - attempts to initiate and, to some extent, explore the nuances of Tabla in a very lucid manner.
Such is the captivation of the fascinating North Indian percussion instrument – The Tabla! The more one travels down the road of Tabla, the more he/she gets involved and greater becomes his urge to travel further.
Even great maestros of Tabla consider themselves lifetime-students of Tabla, thus bringing into perspective the vastness and potential of this enchanting instrument. Gaining mastery in the art and science of Tabla requires an immensely committed, sincere and enduring effort from a student. Tabla has an unfathomable and rich repertoire of rhythmic compositions which when played by an exponent (an Ustad or a Pandit), keeps the listeners spellbound. Although there is yet no absolute clarity on the origin of Tabla, the fact remains that today Tabla has gained a prominent position in the repository of Indian Classical & fusion music, both as an accompaniment and a solo instrument. Tabla playing is an extremely intricate art and science.
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