The Language of the Tabla

Yogesh Samsi speaks and plays a chakradar:

(video source)

Introduction

Classical tabla differs from most other drumming traditions in a variety of ways, from the sounds of the drums to its unusual patterns and forms.

But perhaps the most significant difference is the tabla’s spoken language.

From their very first lesson, tabla students learn to speak what they play on the drums. Traditionally, this is how everything is learned and memorized, from strokes and phrases to long compositions, such as the chakradar spoken in the video above. Although students now write down compositions, they will still speak and memorize their material.

But students do not only memorize. Through the language, they also learn the very particular stress, intonation, and “rules” of classical tabla’s language.

Of course, spoken tabla is not a complete language with meaningful terms and a structured grammar. But it does have a limited vocabulary of phrases which have common “collocations”, meaning that certain strokes and phrases are typically put together in certain combinations but not in others.

Also, the stress and intonation of classical phrases is remarkably consistent across all lineages and countless compositions. To my ear—as both a tabla student and a language teacher—this consistency is maintained by the spoken form of tabla.

Because of this close connection between spoken and performed tabla, spoken tabla does not only represent what is played on the drums, but also influences how the drums are played.

Tabla strokes are represented by syllables

Every stroke on the tabla is represented by a syllable known as a bol. These syllables are onomatopoetic, meaning that they sound similar to the sounds on the drum, especially when spoken in sequence.

Listen below to a sample of common tabla syllables and phrases with their corresponding sounds on the drums:

And here is a kayda theme, spoken and performed twice:

(from Dilli Kayda 2)

See the Tabla Bols section for more examples of syllables and phrases.

The Tabla’s Vocabulary

Although there is a vast number of compositions in classical tabla, there is a relatively small number of phrases. Here are a few common examples:

  • dhāge – धागे
  • dhinnā – धिंना
  • dhāginā – धागिना
  • dhinnāginā – धिंनागिना
  • teṭe – तेटे
  • teṭekata – तेटेकत
  • tirakiṭa – तिरकिट
  • ginā – गिना
  • gadigana – गदिगन
  • gheṛanaga – घेड़नग

Common phrases such as these can be thought of as the language’s vocabulary. And the language is defined by typical combinations of such phrases. For example, the first phrase dhāge is commonly followed by phrases such as teṭe, tirakiṭa, and dhinnāginā:

  • dhāge teṭe
  • dhāge tirakiṭa
  • dhāge dhinnāginā

You will hear such elemental combinations over and over, but in an almost endless variety of ways, and with remarkable creativity.

In this sense, tabla material works like a language, but with a limited vocabulary. As students learn, they increase their vocabulary and learn more combinations and extended statements in a variety of compositional forms.

Tabla compositions are more phrase-based than rhythmic

Tabla in folk music, popular music, and some light-classical genres is similar to drumming in most of the world: it’s strongly rhythmic and easy to follow.

But most classical tabla is neither strongly rhythmic nor easy to follow.

While there is plenty of rhythm and groove in classical tabla, it is usually secondary to the language. The beauty and the "logic" of most compositions is created by the juxtaposition of tabla phrases. And most phrases of classical tabla are not only unique, but often complex.

Listen to two typical compositions below, the kayda from above and a tukra. Do you hear a steady rhythm? Or do you hear percussive prose?

Kayda Theme, Spoken and Performed Twice

(from Dilli Kayda 2)

Tukra, Spoken and Performed Once

(from Benares Tukra 3)

Most new listeners will have some trouble following these compositions closely, if they can follow them at all.

Good listeners, however, can follow both of these compositions because they are familiar with the language.

The Relationship Between Speaking and Playing

In tabla literature, spoken tabla is often characterized as a mnemonic device, as a way to memorize strokes, phrases, and compositions. But equally important is the complex relationship between speaking and playing.

As students become better speakers, the spoken language also influences their playing. This influence is difficult to describe if you are unfamiliar with classical tabla. But its importance is expressed by the following statement:

In order to perform well, you must learn to speak well.

I have heard or read many masters say this in one way or another, including my own teacher, Chhotelal Misra.

My understanding of this statement is that speaking and playing are bound together, and should be understood as complimentary practices of the same art form.

As you practice speaking, your playing takes on more qualities of the voice. Similarly, over time your speaking sounds more and more like what you play on the drums.

To my ear, this is obvious. Many classical tabla compositions have some prosodic qualities of spoken language. By "prosodic" I mean that things such as accents, intonation, stress, the "melody" of long phrases, etc., have some qualities of spoken language.

We can also see this in the way that teachers often teach through speaking alone. In some cases, the spoken language is better for expressing, or emphasizing the more subtle aspects of stress, intonation, and musical expression.

During my years with Chhotelal Misra, I watched many students learn by listening to Chhotelal speak a composition or phrase, not by playing. In fact, Rajneesh Tiwari was trained by Chhotelal mostly through speaking, as Chhotelal was no longer performing at this time due to health issues.

All of this underscores the fact that both speaking and performing are not only important, but inseparable.

Suggestions for Listeners

For listeners, one advantage of spoken tabla is that you can learn to speak without learning to play. If you learn just a few compositions and gain a basic understanding of tintal, your ability to follow and understand the tabla will be greatly improved.

But learning the language of the tabla is like learning any other language: it takes time and you need to listen and practice as much as possible.

For listeners who are interested in learning from this website, you should start with the Listener’s Guide.

However, I strongly suggest that you do more than just listen. If you are serious about understanding the tabla, you should learn to speak a little, if not a lot, of tabla.