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86-486: Someone who plays the dhol is known as dholi . The word Dhol is derived from Sanskrit word ḍhola, a term for drum in Sanskrit language. The dhol is a double-sided barrel drum played mostly as an accompanying instrument in regional music forms. In Qawwali music , the term dhol is used to describe a similar, but smaller drum with a smaller tabla , as a replacement for the left-hand tabla drum. The typical sizes of

172-550: A pakhawaj drum into two to make tabla drums "cannot be given any credence". Drums and Talas are mentioned in the Vedic era texts. A percussion musical instrument with two or three small drums, held with strings, called Pushkara (also spelled Pushkala ) were in existence in pre-5th century Indian subcontinent along with other drums such as the Mridang , but these are not called tabla then. The pre-5th century paintings in

258-529: A Kayda. Kaydas can be played in any Tala. But in most of the concerts Teental and their Kaydas are played very often. Note that in talas like Dadra and Keherwa or in thekas like Bhajani , laggis are played, kaydas are not played. The reason for this is that these talas/thekas mentioned in the previous line are specifically played for Semi-Classical and light music ( Bhajans , Kirtans , Thumris , etc.) and not for Hindustani classical music. Different Gharanas have their own Kaydas. Basic structure of

344-432: A central area of "tuning paste" called the syahi (lit. "ink"; a.k.a. shāī or gāb ). Syahi is common in many drums of Indian origin. This method allows these drums to produce harmonic overtones and is responsible for their unique sound. Syahi is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area

430-602: A guru to a shishya, in person. Thus oral notation for playing tabla strokes and compositions is very developed and exact. These are made up of onomatopoetic syllables and are known as bols . Written notation is regarded as a matter of taste and is not standardized. Thus there is no universal system of written notation for the rest of the world to study Indian music. The two popular systems for writing notations were created by Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande . These notations are named after their respective creators. Both these systems have bols written down in

516-671: A half speed of medium tempo. Others such as Ati Ati drut laya stands for very very fast tempo. Modern tabla players often use beats per minute measures as well. There are many talas in Hindustani music. Teental or Trital is one of the most popular tala played on Tabla. It has 16 beat measures or matras, and can be written down as 4 sections of 4 matras each. Teental can be played at both slow and fast speeds. Other talas such as Dhamaar, Ek, Jhoomra and Chau talas are better suited for slow and medium tempos. While some flourish at faster speeds, such as like Jhap or Rupak talas. Some of

602-541: A kayda are complex, but in short, one must only use the bols that are in the original theme. This original theme is known as a Mukh. The kayda form originated in the Delhi Gharana of tabla playing and serves three fundamental and very important roles for tabla players. The Dayan (Right side tabla - also known as Dagga ) and Bayan (Left side tabla - just known as Tabla ) of the Tabla are used in synchronization to form

688-644: A pair of drums, which some have claimed as evidence for the ancient origin of the tabla in India. A different version of this theory states that the tabla acquired a new Arabic name during the Islamic rule, having evolved from ancient Indian puśkara drums. The evidence of the hand-held puśkara is founded in many temple carvings, such as at the 6th and 7th century Muktesvara and Bhuvaneswara temples in India. These arts show drummers who are sitting, with two or three separate small drums, with their palm and fingers in

774-463: A part of larger ensembles. It is frequently played in popular and folk music performances in India , Bangladesh , Afghanistan , Pakistan , Nepal and Sri Lanka . The tabla is an essential instrument in the bhakti devotional traditions of Hinduism and Sikhism , such as during bhajan and kirtan singing. It is one of the main qawwali instruments used by Sufi musicians. The instrument

860-415: A position as if they are playing those drums. However, it is not apparent in any of these ancient carvings that those drums were made of the same material and skin, or played the same music, as the modern tabla. The textual evidence for similar material and methods of construction as tabla comes from Sanskrit texts. The earliest discussion of tabla -like musical instrument building methods are found in

946-835: A script such as Latin or Devanagari . The differences arise in representation of various concepts of a compositions, such as Taali, Khaali, Sum (the first beat in a rhythmic cycle ), and Khand (divisions). Another difference is the use of numerals in the Vishnu Narayan Bhatkande system to represent matras and beat measures, whereas more sophisticated symbols are used in the Vishnu Digambar Paluskar system to denote one matra , its fractions and combinations. Tabla's repertoire and techniques borrow many elements from Pakhavaj and Mridangam , which are played sideways using one's palms. The physical structure of these drums also share similar components:

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1032-467: A similar sounding name Amir Khusru, where he is suggested to have cut a Pakhawaj into two to create tabla . Miniature paintings of this era show instruments that sort of look like tabla . This theory implies that tabla emerged from within the Muslim community of Indian subcontinent and were not an Arabian import. However, scholars such as Neil Sorrell and Ram Narayan state that this legend of cutting

1118-464: A synthetic skin as well), that can either be stretched or loosened by tightening the interwoven straps. The dhol player is termed Dhulia and the expert in dhol is termed Ojah (Assamese: ওজা). The Khol a kind of dhol also has an aspect of symbolism in Assamese culture , and one considers it to be a " devo badyo " (Assamese: দেৱ বাদ্য) or an instrument of god believed to be brought to Earth by

1204-409: A synthetic skin as well), that can either be stretched or loosened by tightening the interwoven straps. The dhol player is termed Dhulia and the expert in dhol is termed Ojah (Assamese: ওজা). The Khol a kind of dhol also has an aspect of symbolism in Assamese culture , and one considers it to be a " devo badyo " (Assamese: দেৱ বাদ্য) or an instrument of god believed to be brought to Earth by

1290-512: A tightening mechanism made up of either interwoven ropes, or nuts and bolts. Tightening or loosening the skins subtly alters the pitch of the drum sound. The stretched skin on one of the ends is thicker and produces a deep, low-frequency (higher bass) sound and the other thinner one produces a higher-frequency sound. Dhols with synthetic, or plastic, treble skins are common. The dhol is played using two wooden sticks, usually made out of wood, cane, or also known as wickers cane. The stick used to play

1376-512: A tightening mechanism made up of either interwoven ropes, or nuts and bolts. Tightening or loosening the skins subtly alters the pitch of the drum sound. The stretched skin on one of the ends is thicker and produces a deep, low-frequency (higher bass) sound and the other thinner one produces a higher-frequency sound. Dhols with synthetic, or plastic, treble skins are common. The dhol is played using two wooden sticks, usually made out of wood, cane, or also known as wickers cane. The stick used to play

1462-529: Is a UK Dhol player that established a syllabus to teach the art of playing this instrument. Although there is no official syllabus or phrasing for the learning process, he took the North Indian language of Tabla to visualise the beats as phonetic phrases to make learning easier. The introduction of electronic devices such as tape recorders has led to a decline in the importance of dhol players in celebratory events. Nevertheless, dhol music still figures in

1548-466: Is a UK Dhol player that established a syllabus to teach the art of playing this instrument. Although there is no official syllabus or phrasing for the learning process, he took the North Indian language of Tabla to visualise the beats as phonetic phrases to make learning easier. The introduction of electronic devices such as tape recorders has led to a decline in the importance of dhol players in celebratory events. Nevertheless, dhol music still figures in

1634-425: Is a type of Tabla composition. There are major two types of tabla compositions, fixed (pre-composed) and improvised (composed and improvised at the time of the practicing or performing). A rhythmic seed (theme) is introduced, which is then used as a basis for elaboration through improvisation and/or composition. The word Kayda is an Arabic or Hindi word which means 'rule' or 'a system of rules'. The rules for playing

1720-412: Is achieved while striking vertically on the braided portion of the head using a small, heavy hammer. While tabla usually features two drums, a tabla tarang may consist of 10-16 dayas to perform melodies based on several ragas . The baya tabla is a bit bigger and deep kettledrum shaped, about 20 centimetres (~8 in) in diameter and 25 centimetres (~10 in) in height. It played with the non-dominant hand,

1806-725: Is also commonly used to accompany ghazal and qawali songs . The dhol is the main musical instrument in the Pashtun dance known as attan . The Afghan and Iranian Dohol is not the same drum on the Indian subcontinent . Caucasian dhol is called dhol in Armenia , dholi or doli in Georgia and Abkhazia , and doul in North Caucasus . It has become popular in other parts of the world due to Indian diaspora and diaspora from

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1892-447: Is also commonly used to accompany ghazal and qawali songs . The dhol is the main musical instrument in the Pashtun dance known as attan . The Afghan and Iranian Dohol is not the same drum on the Indian subcontinent . Caucasian dhol is called dhol in Armenia , dholi or doli in Georgia and Abkhazia , and doul in North Caucasus . It has become popular in other parts of the world due to Indian diaspora and diaspora from

1978-529: Is also featured in dance performances such as Kathak . Tabla is a rhythmic instrument. The name tabla likely comes from tabl , the Arabic word for drum. The ultimate origin of the musical instrument is contested by scholars, though some trace its evolution from indigenous musical instruments of the Indian subcontinent. The tabla consists of two small drums of slightly different sizes and shapes. Each drum

2064-402: Is called bāyāñ (literally "left") duggī or dhāmā (correctly called "dagga"), has a much deeper bass tone , much like its distant cousin, the kettle drum . The bāyāñs can be found to be made up of many different types of materials. Brass is the most common, copper is more expensive, but generally held to be the best, while aluminum and steel are often found in inexpensive models. Sometimes wood

2150-489: Is classified in the Avanadha Vadya category of rhythm instruments which are made by capping an empty vessel with a stretched skin. The tabla consists of two single-headed, barrel-shaped small drums of slightly different sizes and shapes: baya and daya for left and right drums, respectively. The smaller drum, played with the dominant hand, is called dayan (literally "right" side), dāhina, siddha or chattū, but

2236-403: Is correctly called the "tabla." It is made from a conical piece of mostly teak and rosewood hollowed out to approximately half of its total depth. The daya tabla is played by the musician's right hand (dominant hand), and is about 15 centimetres (~6 in) in diameter and 25 centimetres (~10 in) high. The drum is tuned to a specific note, usually either the tonic , dominant or subdominant of

2322-522: Is found in the states of Punjab , Himachal Pradesh , Haryana , and Delhi . The beats of dhol have been an element in the ceremonies of the great Sufi mystics and their followers. The patterns of dhol have been developed to catalyze the mind of the devotee who is seeking spiritual trance. In Assam , the dhol is widely used in Rongali Bihu ( Bohag Bihu ), the Assamese new year celebrations in

2408-406: Is found in the states of Punjab , Himachal Pradesh , Haryana , and Delhi . The beats of dhol have been an element in the ceremonies of the great Sufi mystics and their followers. The patterns of dhol have been developed to catalyze the mind of the devotee who is seeking spiritual trance. In Assam , the dhol is widely used in Rongali Bihu ( Bohag Bihu ), the Assamese new year celebrations in

2494-431: Is made of hollowed-out wood, clay or metal. The smaller drum ( dayan/tabla ) is used for creating treble and tonal sounds, while the primary function of the larger drum ( baya/dagga ) is for producing bass. They are laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membranes for tuning the drums. The playing technique is complex and involves extensive use of

2580-415: Is made up of two stretched membranes tied by a strong string. One side of the dhol is played by wooden stick called "tiparu", on that side black coloured ink paste stick in the centre. This membrane is called the "dhum". In technical language, it is called base. Another side of dhol is called "thapi" or "chati". In technical language, it is called as tremer, this side of membrane is only played by palm. Boll of

2666-415: Is made up of two stretched membranes tied by a strong string. One side of the dhol is played by wooden stick called "tiparu", on that side black coloured ink paste stick in the centre. This membrane is called the "dhum". In technical language, it is called base. Another side of dhol is called "thapi" or "chati". In technical language, it is called as tremer, this side of membrane is only played by palm. Boll of

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2752-516: Is one of the important musical instruments in Gujarat. In Maharashtra , dhol is a primary instrument used in Ganesh festivals . In the city of Pune , locals come together to form dhol pathaks (troupes). Pune supposedly has the largest number of dhols in India . In the city of Nagpur , there are many troupes that play dhol on festivals and other occasions. Here dhol is referred to as 'Sandhal'. Dhol

2838-409: Is one of the important musical instruments in Gujarat. In Maharashtra , dhol is a primary instrument used in Ganesh festivals . In the city of Pune , locals come together to form dhol pathaks (troupes). Pune supposedly has the largest number of dhols in India . In the city of Nagpur , there are many troupes that play dhol on festivals and other occasions. Here dhol is referred to as 'Sandhal'. Dhol

2924-416: Is played by striking each end with bamboo sticks. It is usually played at auspicious ceremonies and festivals like New years , Urs and Puja and in festive processions like Mongol Shovajatra , Tazia and Ratha Yatra . The Bangla dhol ( Bengali : বাংলা ঢোল ) is larger than the ordinary dhol. The dholak is smaller than the dhol and looks like a small barrel. The dholak may be played in an orchestra. It

3010-416: Is played by striking each end with bamboo sticks. It is usually played at auspicious ceremonies and festivals like New years , Urs and Puja and in festive processions like Mongol Shovajatra , Tazia and Ratha Yatra . The Bangla dhol ( Bengali : বাংলা ঢোল ) is larger than the ordinary dhol. The dholak is smaller than the dhol and looks like a small barrel. The dholak may be played in an orchestra. It

3096-538: Is recent iconography of the drum like structure dating back to 1799. There are Hindu temple carvings of double hand drums resembling the tabla that date back to 500 BCE. The tabla was spread widely across ancient India. A Hoysaleshwara temple in Karnataka shows a carving of a woman playing a tabla in a dance performance. According to classifications of musical instruments defined in the Natyashastra , Tabla

3182-430: Is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch (see inharmonicity ) and variety of tonal possibilities unique to this instrument which has a bell-like sound. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument. The earliest discussion of these paste-patches are found in

3268-528: Is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal. The baya construction and tuning is about a fifth to an octave below that of the daya drum. The musician uses their hand's heel pressure to change the pitch and tone colour of each drum during a performance. The head of each drum has

3354-609: The Ajanta Caves , for example, show a group of musicians playing small tabla-like upright seated drums, a kettle-shaped mridang drum and cymbals. Similar artwork with seated musicians playing drums, but carved in stone, are found in the Ellora Caves , and others. A type of small Indian drums, along with many other musical instruments, are also mentioned in Tibetan and Chinese memoirs written by Buddhist monks who visited

3440-439: The Indian subcontinent . Dhol has been a popular musical instrument in formal and informal dance performances for decades. Dholi Dhol ( Hindi pronunciation: [ɖʰoːl] ) can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent . Its range of distribution in Indian subcontinent primarily includes northern areas such as

3526-473: The Indian subcontinent . Dhol has been a popular musical instrument in formal and informal dance performances for decades. Tabla A tabla is a pair of hand drums from the Indian subcontinent . Since the 18th century, it has been the principal percussion instrument in Hindustani classical music , where it may be played solo, as an accompaniment with other instruments and vocals, or as

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3612-470: The Jammu , Himachal , Punjab , Haryana , Delhi , Kashmir , Sindh , Assam Valley , Uttarakhand , West Bengal , Odisha , Gujarat , Maharashtra , Konkan , Goa , Karnataka , Rajasthan , Bihar , Jharkhand and Uttar Pradesh . A related instrument is the dholak or dholki. Dhols are amongst other events used in Indian wedding ceremony processions such as Baraat or Varyatra . Someone who plays

3698-471: The Pandavas . Dhol (which is always accompanied by tasha , cymbals , etc.) is an important part of Goan shigmo celebrations. It also is an important part of Goan temple music; the temple dhol was traditionally played by a specific caste. The dhol was used by Gujaratis during celebrations such as Navaratri to accompany garba. Garba are the folk songs which describe the grace of the divine mother. It

3784-413: The Pandavas . Dhol (which is always accompanied by tasha , cymbals , etc.) is an important part of Goan shigmo celebrations. It also is an important part of Goan temple music; the temple dhol was traditionally played by a specific caste. The dhol was used by Gujaratis during celebrations such as Navaratri to accompany garba. Garba are the folk songs which describe the grace of the divine mother. It

3870-466: The Yadava rule (1210 to 1247) in the south, at the time when Sangita Ratnakara was written by Sarangadeva . Madhava Kandali , 14th century Assamese poet and writer of Saptakanda Ramayana , lists several instruments in his version of "Ramayana" , such as tabal, jhajhar , dotara , vina , bīn , vipanchi , etc. (meaning that these instruments existed since his time in 14th century or earlier).There

3956-561: The bass side of the instrument is known as the dagga in Punjabi. Traditionally the Dhol player would go and look for a branch from a hardwood tree known as Tali (oak or mahogany) that was naturally curved at that angle and use this as the Dagga (Bass Stick). The reason for the bend stick is because of the goat skin. This is thin like 80-100gsm paper, so the stick has to be bent to avoid piercing

4042-403: The bass side of the instrument is known as the dagga in Punjabi. Traditionally the Dhol player would go and look for a branch from a hardwood tree known as Tali (oak or mahogany) that was naturally curved at that angle and use this as the Dagga (Bass Stick). The reason for the bend stick is because of the goat skin. This is thin like 80-100gsm paper, so the stick has to be bent to avoid piercing

4128-580: The Hindu text Natyashastra . For stability while playing, each drum is positioned on a toroidal bundle called chutta or guddi , consisting of plant fiber or another malleable material wrapped in cloth. They are commonly played while sitting cross-legged on the floor. Indian music is traditionally practice-oriented and until the 20th century did not employ written notations as the primary media of instruction, understanding, or transmission. The rules of Indian music and compositions themselves are taught from

4214-410: The Hindu text Natyashastra . This text also includes descriptions of paste-patches ( syahi ) such as those found on a tabla. The Natyashastra also discusses how to play these drums. The South Indian text Silappatikaram , likely composed in the early centuries of 1st millennium CE, describes thirty types of drums along with many stringed and other instruments. These are, however, called pushkara ;

4300-569: The Indian subcontinent in the 1st millennium CE. The pushkala are called rdzogs pa (pronounced dzokpa) in Tibetan literature. The pushkara drums are also mentioned in many ancient Jainism and Buddhism texts, such as Samavayasutra , Lalitavistara and Sutralamkara . Various Hindu and Jain temples, such as the Eklingji in Udaipur, Rajasthan show stone carvings of a person playing tabla-like small pair of drums. Small drums were popular during

4386-527: The Indian subcontinent. While the carvings in Bhaja Caves support the theory that the instrument had indigenous origins, clear pictorial evidence of the drum emerges only from about 1745, and the drum continued to develop in shape until the early 1800s. The Indian theory traces the origin of tabla to indigenous ancient civilization. The stone sculpture carvings in Bhaja Caves depict a woman playing

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4472-401: The creation of many new rhythms particular to that dance. Some of the most common Punjabi dhol rhythms are bhangra (originating with the old, community bhangra dance), dhamaal (associated with many cultural functions, including worship at Sufi shrines), and kaharva , a dance and song rhythm. The staged "bhangra" dance, originating in the 1950s, gave special prominence to kaharva , for

4558-400: The creation of many new rhythms particular to that dance. Some of the most common Punjabi dhol rhythms are bhangra (originating with the old, community bhangra dance), dhamaal (associated with many cultural functions, including worship at Sufi shrines), and kaharva , a dance and song rhythm. The staged "bhangra" dance, originating in the 1950s, gave special prominence to kaharva , for

4644-761: The cycle. Other emphasized parts of the tala which are represented by Taali (clap), while Khali (empty) portions are played in a relaxed manner. They are represented by a 'O' in Vishnu Narayanan Bhatkhande notation. Tali is often marked by a numeral representing its beat measure. Separate sections or stanzas of a tala are called Vibhagas . Three main types of tempos or layas are used in playing Tabla talas: 1) Slow (vilambit) or half speed, 2) Medium (madhya) or reference speed, and 3) Fast (drut) or double speed. Keeping these three tempos as reference other variations of these tempos are also defined such as Aadi laya where bols are played at one and

4730-465: The dhol and damau, the two folk instruments of the region, at special occasions or religious festivals according to the Dhol Sagar , an ancient treatise that was transmitted orally and by practical teaching. The " dhak " ( Bengali : ঢাক ), is a huge membranophone instrument from Bangladesh and West Bengal . The dhak is an ancient instrument. It is very large, with both ends covered with skin. It

4816-406: The dhol and damau, the two folk instruments of the region, at special occasions or religious festivals according to the Dhol Sagar , an ancient treatise that was transmitted orally and by practical teaching. The " dhak " ( Bengali : ঢাক ), is a huge membranophone instrument from Bangladesh and West Bengal . The dhak is an ancient instrument. It is very large, with both ends covered with skin. It

4902-610: The dhol is "Taa", "Dhin" and "Dha". "Taa" for the "Thapi" side, "Dhin" for the "Dhum" side and "Dha" for both sides played together. Called Dhollu in Kannada , the folk dance is known as Dollu Kunitha -Kunitha meaning dance. The folk art is mainly preserved and performed by the people of the Kuruba community of Karnataka. In the Garhwal region, specific musical caste groups like the auji , das or dholi have historically played

4988-449: The dhol is "Taa", "Dhin" and "Dha". "Taa" for the "Thapi" side, "Dhin" for the "Dhum" side and "Dha" for both sides played together. Called Dhollu in Kannada , the folk dance is known as Dollu Kunitha -Kunitha meaning dance. The folk art is mainly preserved and performed by the people of the Kuruba community of Karnataka. In the Garhwal region, specific musical caste groups like the auji , das or dholi have historically played

5074-413: The dhol is known as dholi . The word Dhol is derived from Sanskrit word ḍhola, a term for drum in Sanskrit language. The dhol is a double-sided barrel drum played mostly as an accompanying instrument in regional music forms. In Qawwali music , the term dhol is used to describe a similar, but smaller drum with a smaller tabla , as a replacement for the left-hand tabla drum. The typical sizes of

5160-441: The drum vary slightly from region to region. In Punjab, the dhol remains large and bulky to produce the preferred loud bass. In other regions, dhols can be found in varying shapes and sizes, and made with different woods and materials (fiberglass, steel, plastic). The drum consists of a wooden barrel with animal hide or synthetic skin stretched over its open ends, covering them completely. These skins can be stretched or loosened with

5246-441: The drum vary slightly from region to region. In Punjab, the dhol remains large and bulky to produce the preferred loud bass. In other regions, dhols can be found in varying shapes and sizes, and made with different woods and materials (fiberglass, steel, plastic). The drum consists of a wooden barrel with animal hide or synthetic skin stretched over its open ends, covering them completely. These skins can be stretched or loosened with

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5332-465: The fingers and palms in various configurations to create a wide variety of different sounds and rhythms, reflected in mnemonic syllables ( bol ). The history of the tabla is unclear, and there are multiple theories regarding its origins. There are two groups of theories; the first theorizes the instrument had indigenous origins while the other traces its origins to the Muslim and Mughal invaders of

5418-451: The first and the oldest traditional tabla tradition. Its students were responsible for the spawn of other gharanas as well. Each of these gharanas include a handful of prominent players and maestros. They carry the honorific title ' Pandit ' and ' Ustad ' for Hindus and Muslim tabla players, respectively. Modernization and accessible means of travel have reduced the rigid boundaries between these gharanas in recent times. A Kayda or Kaida

5504-419: The kaharva rhythm. It is known now by various names. Some dhol players call it kaharva , its technical name, while other players in Punjab call it luddi to refer to the dance of that name. With the style of dhol-playing that developed in the U.K., the name chaal was adopted, probably in reference to the "chaal" (movements) it accompanies in modern bhangra. However, that term is not used elsewhere. Johnny Kalsi

5590-419: The kaharva rhythm. It is known now by various names. Some dhol players call it kaharva , its technical name, while other players in Punjab call it luddi to refer to the dance of that name. With the style of dhol-playing that developed in the U.K., the name chaal was adopted, probably in reference to the "chaal" (movements) it accompanies in modern bhangra. However, that term is not used elsewhere. Johnny Kalsi

5676-579: The month of April. Celebrated in mid-April every year (usually on 14 or 13 April according to the Assamese traditional calendar), the dhol is an important and a quintessential instrument used in Bihu dance . The origin of the Dhol in Assam dates back to at least the 14th century when it was referred in Assamese Buranjis as being played by the indigenous people. This shows that the origin of Dhol in Assam

5762-409: The month of April. Celebrated in mid-April every year (usually on 14 or 13 April according to the Assamese traditional calendar), the dhol is an important and a quintessential instrument used in Bihu dance . The origin of the Dhol in Assam dates back to at least the 14th century when it was referred in Assamese Buranjis as being played by the indigenous people. This shows that the origin of Dhol in Assam

5848-422: The musical meter of a composition. It is characterized by groups of matras in a defined time cycle. Talas are composed of basic elements, bols . Matra defines the number of beats within a rhythm. Talas can be of 3 to 108 matras. They are played in repeated cycles. The starting beat of each cycle is known as Sum . This beat is often represented by a special symbol such as 'X'. This is the most emphasized beat of

5934-401: The name tabla appears in later periods. This theory is based on the etymological links of the word tabla to Arabic word tabl which means "drum". Beyond the root of the word, this proposal points to the documentary evidence that the Muslim armies had hundreds of soldiers on camels and horses carrying paired drums as they invaded the Indian subcontinent. They would beat these drums to scare

6020-401: The performance of actions called luddi . In the 1970s, many more actions were added to staged bhangra to go with the kaharva rhythm, which started to become one of the most prominent rhythms associated with the dance. At the same time, this type of rhythm would be played on the dholki drum to accompany Punjabi songs. So when, in the 1990s, Punjabi pop songs began to evoke bhangra dance, they used

6106-401: The performance of actions called luddi . In the 1970s, many more actions were added to staged bhangra to go with the kaharva rhythm, which started to become one of the most prominent rhythms associated with the dance. At the same time, this type of rhythm would be played on the dholki drum to accompany Punjabi songs. So when, in the 1990s, Punjabi pop songs began to evoke bhangra dance, they used

6192-477: The popular Talas in Hindustani Classical music include: Tabla gharanas are responsible for the development of variety of new bols, characteristic playing techniques, composition styles and rhythmic structures. Gharanas acted as a means of preserving these styles between generations of tabla players. First recorded history of gharanas is in the early 18th century. Delhi gharana is considered to be

6278-597: The residents, the non-Muslim armies, their elephants and chariots, that they intended to attack. However, the war drums did not look or sound anything like tabla , they were large paired drums and were called naqqara (noise, chaos makers). Another version states that Amir Khusraw, a musician patronized by Sultan Alauddin Khalji invented the tabla when he cut an Awaj drum, which used to be hourglass shaped, into two parts. However, no painting or sculpture or document dated to his period supports it with this evidence nor it

6364-422: The skin. The bass stick or Dagga is the thicker of the two and is bent in an eighth- or quarter-circular arc on the end that strikes the instrument. The other stick, known as the teeli , is much thinner and flexible and used to play the higher note end of the instrument. The dhol is slung over the shoulder or, more rarely, around the neck of the player with a strap usually made up of woven cotton. The surface of

6450-419: The skin. The bass stick or Dagga is the thicker of the two and is bent in an eighth- or quarter-circular arc on the end that strikes the instrument. The other stick, known as the teeli , is much thinner and flexible and used to play the higher note end of the instrument. The dhol is slung over the shoulder or, more rarely, around the neck of the player with a strap usually made up of woven cotton. The surface of

6536-427: The smaller pakhavaj head for the dayan, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak . Tabla is played from the top and uses "finger tip and hand percussive" techniques allowing more complex movements. The rich language of tabla is made up of permutations of some basic strokes. These basic strokes are divided into five major categories along with a few examples: Tala defines

6622-409: The soloist's key and thus complements the melody . This is the ground note of the raga called Sa (the tonic in Indian music). The tuning range is limited although different dāyāñs are produced in different sizes, each with a different range. Cylindrical wood blocks, termed Gatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning

6708-534: The studio recordings of present-day raas, garba and bhangra music artists. Shail Vyas claims several percussion instruments such as the Dhol maybe came from the influence of some clay-made instruments that are similar to the Dhol, which are found in Indus Valley Civilisation. Dhol is depicted in earliest ancient Indian sculptural arts as one of the chief percussion instruments for ancient Indian music along with tabla . Ain-i-Akbari , describes

6794-453: The studio recordings of present-day raas, garba and bhangra music artists. Shail Vyas claims several percussion instruments such as the Dhol maybe came from the influence of some clay-made instruments that are similar to the Dhol, which are found in Indus Valley Civilisation. Dhol is depicted in earliest ancient Indian sculptural arts as one of the chief percussion instruments for ancient Indian music along with tabla . Ain-i-Akbari , describes

6880-602: The use of Dhol in the orchestra of the Mughal emperor Akbar the Great . The Indo-Aryan word "dhol" appears in print around 1800 in the treatise Sangitasara . The Punjabi dhol is used in the Punjab region of Pakistan and northern India. In Pakistan, the dhol is mostly played in the Punjab region ; however, it is also used throughout the country ranging from as far south as Karachi and as far north as Khyber Pakhtunkhwa. In India it

6966-444: The use of Dhol in the orchestra of the Mughal emperor Akbar the Great . The Indo-Aryan word "dhol" appears in print around 1800 in the treatise Sangitasara . The Punjabi dhol is used in the Punjab region of Pakistan and northern India. In Pakistan, the dhol is mostly played in the Punjab region ; however, it is also used throughout the country ranging from as far south as Karachi and as far north as Khyber Pakhtunkhwa. In India it

7052-442: The wooden barrel is in some cases decorated with engraved patterns and sometimes paint. In the pre- Partition era, dozens of rhythms were played on the Punjabi dhol, which corresponded to specific functions. However, with the decline or disappearance of some cultural practices, recent generations of dhol players have become unfamiliar with many of these. At the same time, the growth of folkloric staged bhangra dance in Punjab inspired

7138-442: The wooden barrel is in some cases decorated with engraved patterns and sometimes paint. In the pre- Partition era, dozens of rhythms were played on the Punjabi dhol, which corresponded to specific functions. However, with the decline or disappearance of some cultural practices, recent generations of dhol players have become unfamiliar with many of these. At the same time, the growth of folkloric staged bhangra dance in Punjab inspired

7224-407: Was found in the list of musical instruments that were written down by Muslim historians. For example, Abul Fazi included a long list of musical instruments in his Ain-i-akbari written in the time of the 16th century Mughal Emperor Akbar , the generous patron of music. Abul Fazi's list makes no mention of tabla . The third version credits the invention of tabla to the 18th century musician, with

7310-464: Was much older than the rest of India, and the name was probably due to sanskritisation. The people of the Valley reckon that the beats of the dhol are enchanting for people even at a long distance. Played by using a bamboo stick with bare hands, the Assamese dhol is made up of a wooden barrel with the ends covered primarily with animal hide (unlike the rest of the Indian subcontinent, where it could be

7396-412: Was much older than the rest of India, and the name was probably due to sanskritisation. The people of the Valley reckon that the beats of the dhol are enchanting for people even at a long distance. Played by using a bamboo stick with bare hands, the Assamese dhol is made up of a wooden barrel with the ends covered primarily with animal hide (unlike the rest of the Indian subcontinent, where it could be

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