Introduction to Baj

Another important term in classical tabla is bāj (बाज), which is roughly translated as “style”.

In Hindi, baj has a variety of meanings, some of which have nothing to do with style. Most likely, baj evolved from the word bajānā (बजाना), which means "to play".

In tabla, baj has two common meanings of style:

• General technique (fingering)
• Performance style of a particular gharana or lineage

Most often, you will hear terms which describe the first kind of baj, general technique. These include Dilli baj, kinar baj, band baj, purab baj, and khula baj.

You might also hear terms such as Lucknow baj, or Benares baj to talk about the performance styles of these gharanas. This meaning of baj is more difficult to define.

All of these different uses of baj can be confusing for students. The first group of terms (general technique) is easier to understand, but may have subtle differences in meaning.

The second kind of baj (performance style) can only be heard by advanced students and listeners. And in modern tabla, few players have a clear traditional gharana baj.

We’ll look more at both of these meanings of baj below.

Baj as General Technique: Dilli and Purab

Most modern tabla players use two general styles of tabla technique:

• Dilli baj (also called kinar baj, two-finger baj, and band baj)
• Purab baj (also called khula baj)

Dilli baj, you might have guessed, originated in the Dilli gharana. Purab baj, meaning “Eastern baj”, originated in Lucknow, which is east of Dilli. We will discuss the meanings of the other terms below.

Historically, each of the major gharanas was firmly rooted in one of these two styles:

Dilli Baj

• Dilli
• Ajrara

Purab Baj

• Lucknow
• Benares
• Farrukhabad

The Punjab gharana is not easy to categorize because it uses a mixture of Dilli and Purab techniques. Also, this gharana is not a direct descendant of either Dilli or Lucknow, and so it is considered the most independent of the six major gharanas.

Keep in mind that the list above is historical. As we will discuss below, all gharanas now use both Dilli and Purab techniques, though not always in the same amount.

Dilli versus Purab Baj: General Characteristics

Dilli Baj:

• Lighter
• More refined
• Clarity of sound

Purab Baj:

• Heavier
• More aggressive
• Fuller sound

Dilli versus Purab Baj: Technical Characteristics

Diili Baj:

• The primary stroke dhā is played on the rim (known as kinar or chanti)
• More use of individual fingers, as in the strokes teṭe and tirakiṭa
• Fewer pakhawaj patterns
• More restrained expression (band baj or "closed style")

Purab Baj:

• Primary stroke dhā is played inside of the rim (known as low, maidan or sur)
• More use of fingers kept together, as in the strokes teṭe and tirakiṭa
• More pakhawaj patterns
• Less restrained expression (khula baj or "open style")

Meanings of Kinar Baj, Two-Finger Baj, Band Baj, and Khula Baj

From the list above, we can understand why Dilli Baj is also sometimes called kinar baj: kinar means "edge" or "rim". It is also sometimes called two-finger baj because many of the phrases on the daya can be played with just two fingers (index and middle).

The terms khula baj ("open style") and band baj ("closed style") are more complex, and the exact meanings of "open" and "closed" are not always clear.

Many writers and players say that these terms refer to the open or closed resonance of strokes. In general, khula baj produces greater resonance of certain strokes than band baj, because of its technique and power.

But for some of these same writers and players, khula baj and band baj also include aspects of expression (how bols are played), as well as differences of repertoire.

And in Benares, some tabla players that I spoke to did not agree that khula and band refer primarily to resonance. For example, Rajneesh Tiwari pointed out that khula baj often uses more closed strokes played on the syahi (kat-tete, kradhetete, ka-tirakitadhetete, kata, dheradhera, etc.).

However, these closed purab strokes are often performed with more boldness and power. Therefore, I describe khula baj as "less restrained", and band baj as "more restrained".

So while the terms khula baj and band baj may highlight an "open" or "closed" resonance, they are also used more generally as equivalents of purab baj and dilli baj, including their restrained or less-restrained character.

All gharanas now practice both bajs

In modern tabla, most feel that it is necessary to practice both styles in order to have clear, balanced technique, and to play the full range of the modern tabla repertoire.

However, gharanas and teachers may differ in how much of each baj they teach. For example, Chhotelal Misra of Benares teaches a balance of both Dilli and Purab materials and techniques. But most other lineages in Benares teach significantly less Dilli techniques.

And some Dilli or Ajrara lineages may teach less purab techniques than most purab gharanas do.

Not all purab or Dilli techniques are alike

Even today, there are many subtle differences in technique from lineage to lineage. The purab techniques of Farrukhabad, Lucknow, Benares, and Punjab, for example, are not exactly the same. In some cases, there are significant differences.

And the way that Purab gharanas use Dilli techniques may differ from how they are used in Dilli and Ajrara.

Some of these differences will be discussed in the overview for individual Compositions and in the bol demonstrations.

Becoming Familiar with the Two Bajs

Tabla students will learn about the two main bajs in their lessons. For listeners, I suggest first exploring the beginner compositions in both the Dilli Kayda and Benares Kayda sections for an introduction to the two general techniques.

After that, I would continue to explore Dilli kaydas and peshkar for the best demonstration of pure Dilli techniques. And for purab baj, the traditional tukra, chakradar, and gat will help further your understanding.

I also suggest exploring individual bols in the Tabla Bols section for demonstrations and explanations of particular techniques.

Baj as Performance Style

Another related meaning of baj is the performance style of a specific gharana or lineage (Lucknow baj, Benares baj, etc.). This meaning of baj is difficult to define, but it includes various aspects of performance, such as:

• Types of bols or compositions perfomed
• Precise fingering techniques and how they are expressed (nikās)
• General intonation or feeling of play (light, elegant, bold, etc.)

Gharana Baj

We are told that, in the past, each gharana had a unique baj. But because the gharana system has been in decline for so long, we cannot listen to many—if any—examples of a gharana’s "true baj".

It may be that the only time the gharanas each had a clear baj was long ago, when the original family lines were still dominant, and when communication between different gharanas was limited.

Since then, all gharanas have continued to expand into different lineages, and to adopt material from other gharanas. And in recent times, all gharanas have been dominated by players and lineages from outside the original family lines. Some of those lineages have a very different baj from the original family line.

To learn more about traditional gharana baj, see the individual gharana descriptions for a general summary of each gharana’s historical characterisitcs.

Modern Baj

Since at least the 1940s, performance baj has been more and more influenced by individual players and lineages, regardless of one’s own gharana.

The great players of the past such as Ahmedjan Thirakwa, Amir Hussain, Anokhelal Misra, Samta Prasad, and others were highly influential. Many players from different gharanas adopted elements of their styles and compositions.

More recently, there has a been a clear movement toward a general modern style, or modern baj, of tabla. Often it is difficult to tell the difference between one tabla player and another, regardless of which gharana they studied in. One of Chhotelal Misra’s regular complaints was, "Aj kal, ekie style chalraha he." ("These days, there is just one style.")

This movement has been led mostly by players from Kolkata, especially students of Gyan Prakash Ghosh, including Anindo Chatterjee, Nikhil Ghosh, Shankar Ghosh and others. In addition, the punjabi style of Alla Rakha and his son Zakir Hussain have also been highly influential on modern tabla.

This is not to say that all players now follow the same general baj. There are many individual exceptions and differences, and you can still hear tabla solos performed in the style of one’s lineage.

But overall—for better or worse—there has clearly been a movement towards a general, modern baj of tabla. And traditional gharana baj is mostly a thing of the past.

References