Chapter 01: Introduction to the Tabla

Dear student: In this online guide, there will be three characters whom
should be great friends by the end of this chapter. They are instructor,
student, and the tabla. You, the student, and I, your guide, can know more of
each other later. Ill introduce you to the tabla, whom youll do most your
practice, work, and creations on. The tabla is our focal point in this course.
Material shown here will be helpful, but not necessarily a replacement course
in pakhawaj, khol, or any other percussion instrument.

The origin of the tabla is the most debated topic. It is argued to have
appeared at least five hundred years ago. Some musicians will argue
that tabla was derived from dividing the ancient barrel drum, pakhawaj, into
two segments which became the two drums of the tabla. This is shown in
Figure 1.1. Another famous theory suggests that the two drums evolved
separately. Some other speculations show that thetabla was of Persian origin
from either the nebla drums or the Arabian tabla drums.

Figure 1.1
Although

the

origin

is

unknown,

the tabla has

found

its

way

into

accompanying classical music of North India. It has been simply a classical

rhythmic instrument until late Ustad Allarakha used the tabla as a solo
instrument capable of moods and improvisations. Also to his credit, he is
known for introducing the tabla to the West with world renowned sitar
player, Pandit Ravi Shankar in 1964 in New York. UstadAllarakhas son, the
famous Ustad Zakir Hussein,

has

developed

new

pitch

changes

in

the tabla as well as new bols, which you will learn in Chapter 2. Now,
the tabla has become more than accompaniment to Indian classical music,
but an instrument used in many genres of music.

The tabla is simply a pair of two kettledrums from India. Let us

examine further what is on the tabla.

The smaller treble drum is known as the daya. This comes from the Hindi
word for right. Naturally, if you are a right handed person, you will play
the daya with your right hand. Other courses might refer this drum as
the danya, and tabla. I avoid using this word, as the word alone is prone
confusion. In this book, daya or dayan means smaller drum and tabla
means the pair of both drums. The body of the dayan is made of wood. The
shell is known as the lakadi.

The bigger bass drum is known as the baya which means left in Hindi. If
you are a right-handed person, you will play the baya with your left. Other
books and teachers will refer to this drum as the banya, dagga, or
the duggi. I will use baya or bayan as the bigger bass drum. The body of
the baya is made of copper, nickel, aluminum or rarely clay, fiberglass, or
wood. The shell is known as the pital.

The drum head is known as the puri. On each puri, there are three layers.
The outer rim is known as the kinnar. The middle layer of goat-skin is known
as the maidan, and the black iron layer is known as the syahi. It is also
known as the shahi, or gob. You will notice on the baya that the syahi is off-

center, unlike the dayan, whose syahi is in the center. The explanation will be
more evident in the future chapters.

The outer rim of braid, right outside the playable portion, is known as
the gajara. This is used for tuning with your tuning hammer. You will not nor
should not attempt tuning tabla. Incorrect hammering of the gajara can warp
the sound of your tabla and destroy your puri. Tuning will be taught in
Chapter 34.

The lacing straps are known as tasma. More expensive tabla use leather
rawhide for tasma, while older and cheaper tabla uses rope. Currently, in
order to avoid tuning and re-heading problems, bolt-tuned tabla is used. I
personally think this is a better option to get, but it is a good idea to consult
your teacher first.

To tighten your tabla, there are wooden blocks called gatta. There are
always

found

on

the dayan drums.

Occasionally, gatta are

inserted

in

the bayan to tighten it.

Lastly, cushions known as chutti, help elevate the drums to allow the
maximum amount of sound to resonate.

Here is a picture of the tabla with labels in Figure 1.2.

Figure 1.2

When learning tabla, it is very beneficial to practice and perform sitting on

the ground in the Indian yoga position. This will allow maximum energy on
the tabla. Very rarely is tabla ever played on tables, while sitting on a chair. It
is usually the least recommended posture. Some ashrams and some players

will play the baya on the ground, while they keep the dayan on the lap,
considering the lap as the cushion. This might be pleasing, but it might
become very tiring after hours of playing. In addition, it adds greater strain
to the hand with the dayan hand.

As you have seen these pictures of the tabla pair, they are always on an
angle. For now, you do not have to play on an angle. In fact, it is very
recommended that you have them leveled to the ground. This way, you can
see exactly where you are hitting. It is analogous to a piano player looking at
the keys, initially. Through years of practice, speed and striking judgments
will come very naturally that one does not need to look at the keys. Similarly,
later on, for speed and comfort, you can tilt your daya and baya away from
you. It is a common practice to have the daya and baya facing away from the
player, while the baya and the daya are slightly looking at each other.

Get some time with your tabla. Look and feel it to get an idea what it sounds
like. Without learning any tabla information, your first assignment is to strike
the daya using your index finger. What sound is produced? Do you have a
long resonant sound? Do you have a stiffnonresonant sound? Is it partially
resonant? Work for the resonant sound. This is very difficult for beginners
who

have

not

dealt

with

Indian

instruments.

On

the

other

hand,

for mridanga players, this concept should be of no difficulty. Keep trying to

strike the daya using your index finger and aim to get that open resonant

sound. Until you can do this without difficulty, do not move onto Chapter 2.
Every chapter onwards relies on your ability to strike the daya, as well
as baya, to produce an open resonant sound.

Chapter 02: Right Hand Bols

In order to speak the language of the tabla, you must know the alphabet and
the sounds of the tabla language. There are numerous sounds of the tabla. To
identify a particular sound, we use a special set of words for the
corresponding sounds. The words are known as bols. It comes from the
word bolna which means to speak in Hindi. As musician Ali Akbar Khan
once said, Let the instrument to do the singing for you. As you learn tabla,
you will later realize that the tabla will do the speaking. In order to allow
this concept to hold true, a firm knowledge of bols must be understood.

For students who have played and studied mridanga, some of them may
refer to the term bol as mantra. I personally disagree using the word
mantra as a substitute for the bol. It is a very poor substitute and really a
misnomer for the word as well as the function of a bol. Mantras are more or
less sound vibrations, implied as incantations. Bols are not incantations nor
do they hold known spiritual connection.Bols are the sounds that which

the tabla speaks. Bol is the preferred term and will be used throughout the
course.

In tabla, there is a numerous amount of bols for dayas and bayas, separately,
and combined. There are even combinations of bols that are considered as
an important single unit. Due to this fact and new bols being invented, only
the most important and basic will be covered here.

Some

schools

and gharanas will

write bols using Devnagari script.

It

is

require
a

good

students
cultural

to

habit

to

learn Devnagari. It is useful in reading modern languages such as Marathi,

Hindi, and Nepali. It is also useful in reading Sanskrit religious texts.
However, I will not emphasize using Devnagari. Knowing the bol name and
how

to

play

it

is

more

important,

than

learning

how

to

write

the Devnagaribols.

When learning bols, click on the picture of the bol in order to hear how it
sounds like.

TUN

Figure 2.1

As I overemphasized in the conclusion of the previous chapter, it is very

important to be able to strike the daya with the index finger to produce an
open, free resonant sound. This is the very name of that technique. That
sound produced by that motion of the dayan is known as tun. Listen to
the bol again. You can almost hear it say, tun. As Figure 2.1 shows, the
optimal sound will be produced if the finger strikes the syahi. It is
recommended to do that for the optimal sound. Keep practicing this bol until
fully mastered. For mridanga players, this is the same technique used to play
t on the mridanga.

Figure 2.2

Without a doubt, this is the most important bol needed. This is the bol that
given the tabla its famous sound. This is one of the most important sounds.
Many people have much difficult with this task. Therefore, the concept of
muting must be introduced.

In order to close the open resonant sound from the tun bol, a finger
position called the mute or the muting position must be used. This
involves taking the ring and pinky fingers together and placing them on
the maidan and kinnar layers. Some artists even place these two fingers on
the syahi. It is merely the matter of personal taste. Look on Figure 2.2 how
the muting involves the ring and pinky fingers. Some beginners mute with
middle finger, although this is a very poor technique to use when doing fast
compositions. It may be painful to hold the correct and seemingly awkward
muting position, but keep practicing. This position will become natural very
quickly.

On acoustical properties, once you mute the dayan, you form an imaginary
X on the dayan. With your index finger, forcefully strike thekinnar where X
intersects. This is shown in the demonstration in Figure 2.2. Keep practicing
this bol, as this is one of the most important and most common bols to tabla.

Some gharanas,

especially

East

Indian

traditions,

will

strike

the maidan instead of the kinnar. This is their version of their t. This bol is
referred to as th. Practice this version for very forceful th.

Exactly the same as t. East Indian gharanas treat n and tha (being
their t) as two distinctly different bols. I dont. N is the same as t, in this
course.

TIN

Figure 2.3

This bol is very frequently used in playing tabla. This is perhaps one of the
most confusing bols, as this bol somewhat lacks standard. The common
approach in playing this bol is to apply muting position, as described before.
Instead of hitting the kinnar or the maidan, strike your index finger on the
border of the maidan and syahi. This stroke should be a resonant stroke,
which sounds more muffled than the t stroke. If you are having a difficult
time getting pure resonance in this or the previous strokes, keep practicing.
As mentioned earlier, the common difficulty amongst new tabla players is
the ability to hit something and allow optimal resonance. Once this hurdle is
overcome,tabla playing can be taught.

Beginners attempt playing tin will often find it hard to differentiate it from
t. Remember that t is louder, than tin.

This stroke will be described in depth later on.

TI/TE

Figure 2.4

Every letter counts. This is a completely different bol from tin. Tin was a
resonant stroke. Ti, also known as te, is nonresonant. No tun nor t
resemblance should emanate from this sound. This involves the middle
finger striking the center of the syahi. Muting the drum is optional. In faster
composition, it will be impractical to mute the ti. The key feature
of nonresonant bols is that you dont lift you hand as fast as with
resonant bols. Keep practicing this bol.

There are more right hand bols, which will be discussed at an appropriate
time. For now, these five dayan bols are very important to know. Attempt
these exercises. Do not worry about time keeping as of yet. Time keeping will
be important in the tla chapters. For now, mastery of the bols is very
important. A dash () means the bol is held for extra time. Notation will be
introduced in Chapter 6.

BRIEF PRACTICE EXERCISE

Tun T Tun Tin Tin Tun N Ti Ti N Tun N Tun N Tun Tun Tin Tin N N
N Tun Tun N N Tun Tun N N Ti Ti N N Tin Tin N
AUDIO CLIP: Chapter 2 Exercise

These bols are high pitched and most easily recognized. People will hear
more of this drum than the baya. Considering this fact, constant practice in

getting the correct sounds with bol names is mandatory. It is a proven

process that proficiency of these bols and playing them will allow you to
literally play any composition. The bols are the basic building blocks of tabla.
The bols are our alphabet, where we make short words. With those short
words, we make sentences, which allow moods and emotions

Chapter 03: Left Hand Bols

In order to speak the language of the tabla, you must know the alphabet and
the sounds of the tabla language. There are numerous sounds of the tabla. To
identify a particular sound, we use a special set of words for the
corresponding sounds. The words are known as bols. It comes from the
word boln which means to speak in Hindi. As musician Ali Akbar Khan
once said, Let the instrument to do the singingfor you. As you learn tabla,
you will later realize that the tabla will do the speaking. In order to allow
this concept to hold true, a firm knowledge of bols must be understood.

Just as the right hand bols are very important to know, left hand bols on
the baya are very crucial to know. The baya produces a deep bass sound. In
the dayan, there is no possibility of changing the pitch. The baya, however,
introduces a possibility of pitch bends. Even though there are not as
many bols involved with baya, the possibility of sounds and techniques
produced with the baya speaks louder than thedayan.

The daya had its syahi on the center of the drum. The baya, however, has
its syahi off-center. Due to its off-center placement, there is a special position
involved for the baya. The baya must be one oclock with respect to the
player. This is shown in Figure 3.1. The red linesindicate where your wrist is
placed. For mridanga players, the baya is played much differently than what
is common. The one oclock and wrist positioning will be collectively known
as the baya position.

Figure 3.1

KA

Figure 3.2

This is a nonresonant stroke. This is also the stroke with greatest degree of
freedom. The most common approach is to take the enter palm and slap
the baya without lifting your hand. Make no sure no signs of resonance exist.
Notice in Figure 3.2 that the wrist is where the red lines correspond to in
Figure 3.1. The fingers are going slightly outside the drum.

In some cases, ka is aimed for the syahi giving it a rough sound. This is
popular for heavy, less classical and loud performances. In classical
performances to emphasize a dayan bol, the finger flicks the kinnar giving
it a distant, clear cut sound. This is known as thefinger ka. Some people
refer to this bol as kat, ke, or ki. I will use each term equally. Whether you
play the standard style shown in Figure 3.2, the syahi style, or the finger ka,
it is very important that you obey the one oclock rule and the proper wrist
positioning. In other words, it must be in baya position.

Unless stated otherwise, ka will always refer to the standard technique of

playing ka.

GHA

Figure 3.3

For the left hand, this is the only resonant bol involved. However, this is the
most difficult to play. For the baya position, you can keep your wrist on
standard position. You can get as close as the syahi, but do not attempt to
cross it. With the index finger, strike the maidan to produce a resonant tone.
Do not lift your wrist off the baya. Keep practicing this bol until you can get
the sharp distinct tone. You can use your middle finger, index with middle
finger, or a combination or index, middle, and ring fingers for this bol. Look
at

Figure

3.3.

Pay

special

the maidan is being struck.

attention

at

the baya position

and

how

Like ka, there are many ways to approach gha. One way is the have it totally
open with no wrist on the baya. Striking the maidan as described before. This
is usually referred to as the open gha. Practice this style.

Using baya position from Figure 3.1, play the gha bol. This time, while
striking the maidan, slide your wrist toward the syahi, simultaneously. You
should hear a good swoop sound or a good pitch bend. Since you slide your
wrist to produce this sweet form of gha, this is referred as the sliding gha.
Practice this style of sliding gha. Be creative! As the sliding causes pitch
bends, thousands of sounds can be made. See what sounds you can come up
with.

While

you

practicing

sliding toward the syahi,

try

playing

the

sliding gha where you start at the syahi and slide away from it.

Some people will call it ga, ghe, ge, ghi, gi, gin, and ghin. I use all forms
of

gha.

Each

style

of gha will

be

emphasized

beforehand.

Formridanga players, there is a full palm gha, however that is not used
here at all. I suggest practicing this controlled gha.

These are the two main principal bols used for playing the baya. Now is a
great time for practice. Play the following sets of bols.
BRIEF EXERCISE
Gha Ti

Ka Gha -

Ka T -

Ta Ga N Ka N Ka Tu N Th Ge N Tin N Ka Ge Ti Th

Ta T Tun- Gha-- | T T Tun- Gha--| T T Tun- Gha--|

Be sure you know how to play every bol before. Play them, remember them,
write

them,

and

study

them.

The

next

chapter

will

develop

complex bols which will help complete our alphabet of our tabla language.

Chapter 04: Both Hand Bols

After

dealing

with bols of

both

drums

individually,

we

can

finally

combine bols from the baya and the daya together to form a new bol.Tabla is
not an instrument where sometimes daya plays alone and lets baya play
alone. It is also not an instrument where daya and bayabols never mix. This
allows mixing in very interesting ways. We will only do two bols. Of course,
there are countless numbers of bols, butthese two are very important that it
is best to be formally taught these. The other bols will come very naturally
without instruction.

DH

Figure 4.1

Dh is one of the most popular of the mixed bols. Dh is a bol that

comes from the mixing the bols, gha and t, th or n. Thus
Gha + T = Dh. Just as simple as this equation seems, the fact is just as
simple. You play gha on the baya and the t simultaneously. Note on
Figure 4.1 how the baya position is used and the mute is used on the daya.

DHIN

Dhin is the other important bol to master. Dhin is a bol that comes from
the mixing the bols, gha and tin. Thus Gha + Tin = Dhin. Just as simple
as this equation seems, the fact is just as simple. You play gha on
the baya and

the

tin

simultaneously.

Note

on

Figure

4.2

how

the baya position is used and the mute is used on the daya.

Sometimes, dhin is a debated bol, just like tin. More about this discussion
will take place in later chapters.

You can see more equations and simultaneous bols.

Gha + Ti = Dhi
Gha + Tun = Dhun

With Ka, it is simply emphasis (capitalized letters):

Ka + T = T
Ka + Tin = Tin

The possibilities are endless.

Try this sample:

BRIEF EXERCISE
dh dhin dhin dh | dh dhin dhin dh | dh tin tin t | t dhin dhin dh
dh ge n ti | n ka dhin n | dh ti tu t | t dhin dhin dh

Were you able to play the first and second lines without trouble? If you did,
congratulations! You played you very first set of cyclic talas on the tabla! The
first line, for your information, is a very common sixteen beat cycle known
as tintal, and the second were two renditions ofKehrva tal. As I mentioned
earlier, if you know the science of bols and how to play them, you can
virtually play anything. Knowing thesebols and how to play them is half the
battle. There are a few phrases very important in tabla playing which are
introduced in Chapter 5.

Chapter 05: Important Phrases

We have technically covered all of the most important bols to know in tabla.
Of course, there are many more not discussed in the previous three chapters.
They will be appropriately discussed. The bols we discussed above are found
everywhere in all types of tabla compositions and talas. In addition to
the bols discussed, there are important phrases that need to be discussed.
These phrases are really combinations ofbols, but they appear everywhere
that knowing how to play them with skill and dexterity is very important.
Before introducing these phrases, we must introduce new bols.

RA (or TA)

Figure 5.2

We have not discussed this chapter 2, because it was not a fundamental bol.
This is a bol meant for phrases covered soon. This is anonresonant bol on
the daya. On ra, there are no muted positions. The index finger hits
the syahi slightly off center to the left. Do not lift the index finger off of
the daya once you hit the syahi. It should sound completely nonresonant. If it

sounds anything like tun, then the ra bol was played incorrectly.
Absolutely no resonance should be heard. This bol is also known as ta (no
long sound). The technique is shown on Figure 5.1.

TA

Figure 5.3

Due to poor transliteration schemes used in English, it is difficult to get the

correct notation for this bol. This bol is a retroflex T used in Sanskrit. In
addition a is a short vowel. Different pronunciation indicates a new bol.
This bol is nonresonant. Like ra, ta does not require a mute. However, the
middle,

ring,

and

the syahi, maidan,

pinky

finger

and kinnar.

should

be
This

stiff

together
should

to

hit
be

completely nonresonant, however, it is natural to hear a very small ta

sound. This is natural, but the point is that there should be no resonance.
Like the technique with playing ra, the fingers must stay on the daya. The
fingers cannot be lifted off the drum. Figure 5.2 shows the technique.

DA and DIN

Figure 5.4
Da (or do in Bengali) is a nonresonant bol on the daya. Unlike the
previous strokes, a very muffled and nonresonant tun will be produced. By
merely touching the daya when make a mute position, the sound produced is
da. It is a very easy bol to reproduce. Remember, when you mute, you do
not lift your hand off the daya. This bol is also known as na. I may
interchangeably use it. Please note the pronunciation is na and not n.
Special note about Figure 5.4: The index and ring fingers are NOT touching
the drum. The only fingers touching the drum are the ring and pinky fingers.

Din is the resonant version of the da. The sound of din is so

synonymous to the sound of tun that sometimes, it is very difficult to tell
the difference. The main difference, besides playing technique, is that din
is to allow that open sound in the middle of a tala or composition. On the
other hand, tun is intended for slower as well as for more open

compositions. It is the mute striking to produce a resonant tun like tone.

This bol requires practice as well as great dexterity. When gha and din
are played together, the bol Dhim is produced. Most artists call this dhin,
using din as another tin.

Now we know the necessary gaps, here is the first important phrase.

TRKTA = TI + RA + KI + TA

TI

RA

KI

TA

Figure 5.5

This is a phrase that involves for bols, namely ti, ra, ki, and ta. Figure
5.5

reviews

how

to

play

each bol,

and

in

order.

The

length

of

each bols duration is exactly the same. Ti, ra, ki, and ta have exactly
the same amount of time. This phrase, when rapidly, sounds like the
distinctive tabla roll. This phrase is said, ti-ra-ki-ta. When writing it, you
may choose to write tirakita. This book will use trkta. Many bols use

trkta phrase commonly and many solos and compositions make use of
this bol very frequently.

DHIRKITA = DHI + RA + KA + TA = (GHA + TI) + RA + KA + TA

In addition, gha mixed with ti in the phrase will yield dhirkta The
gha bol is mixed in which ti to produce dhi as the first stroke. Dhirkta
is a very common phrase to use. In order to get a crisp and powerful feel to
this phrase, great practice is required.

TIRA = TI + RA

TI

RA

Figure 5.6
Merely ti played with ra following it. Both bols have equal duration.

Since your vocabulary and knowledge of the sounds have expanded, it is

very wise to practice! Practice makes your bols sharper, distinct, and more
powerful. Dont worry about speed and dont focus greatly on time-keeping

yet. It will be covered in the next unit. Focus on getting the bols correctly
played.
EXERCISE PRACTICING BOLS
dh dhin dhin dh dh dhin dhin dh dh tin tin t t dhin dhin dh
dh dhira dhira dh dh dhira dhira dh dh tira tira t th dhira dhira dh
dhin dhin dhge trkta tun n kat t dhge trkta dhin n
dh dh trkta dh dh dinn t t trkta dh dh dhim n
ti ti n dhin n dhin n ti ti n trkta trkta
trkta trkta dh dhin- dh dh dhin- t tin- t t tindhge n ti n ka tha dhge n ti n ka dh
dhin dh dhin dhin dh tin t tin tin t
trkta t trkta t trkta t trkta t
trkta taka trkta taka din n; tirkita taka trkta taka dhim n
dhirkta taka dhirkta taka tin n; dhirkita taka dhirkita taka dhim dh
trkta gadigana dh trkta gadigana dh trkta gadigana dh

This has a little of everything we studied so far. Please play this composition
as much as possible and watch your fingers develop strength to build
powerful bols. In addition, youll be able to keep up with speed and control
sound much better.

If this book is being used by a tabla guru, this is usually where one year of
training ends. This is my view of a tabla course. Of course, studying with

gurus of other gharanas will have many differing ideas than presented in this
book, such as pronunciation, bol names, and such. The key point is to listen
to your gurus style and follow it. Once you finish tabla as a whole, you can
use your own terminology. In order to communicate on the same plane, its
best to imbibe your gurus ideas, while using this book as a guide to help you
play tabla.

abla Bol Reference

For the most part, all of the talas presented on KKSongs are expressed
in tabla bols. Please click on the picture to hear the bol of the tabla.

Tun. Open sound of the dayan

Ra: Closed bol off-center closed bol on dayan.

N (T): Resonant bol using a muted position on

the dayan

Tin: Resonant bol using a muted position on

the dayan struck on the syahi.

Te: Non-resonant bol on the center of syahi using the

middle finger.

Ga: Resonant bol of the baya.

Ka: Non-resonant bol of the baya.

+
Combined bol of Ga and N/T.

Dh:

Dhin: Combined bol of Ga and Tin.

Name of Beat
Counts
Phrase (Theka)

Divisions

Dadra 6

Tisra 1/1

Dha Dhin Na | Na Tin Na

Aarkhemta

Tisra 1/1

Dha Tete Dhin | Na Tete Dhin

Shasthi

Tisra 2/0

Dhin Dhin | Dhage Tete Dhin Nana

Teora / Tivra 7

Misra 3/0

Dha Den Ta | Tete Kata | Gadi Ghene

Rupak 7

Misra 2/1

Ti Ti Na | Dhi Na | Dhi Na

Postu 7

Misra 3/0

Tak Dhin - | Dha Ge | Tin -

Keharwa

Chatasra

Addha8/16 4
Dhadhin -dha

Chatasra

Dhoomali
Tete

Jat
8
Dhin

Chatasra

Nabam

3/1

Chatasra
3/1

Sankirna

1/1

Jati (Group) Beats / Offbeats

Dha Ge Na Ti | Na Ka Dhi Na

Dhadhin -dha | Dhadhin -dha | Tatin -ta |

3/1

Dha Dhi | Dha Ti | Tak Dhi | Dhage

Dha Dhin | Dhadha Tin | Na Tin | Dhadha

4/0

Dha Den Ta | Tita Kata | Gadi

Ghen | Dhage Tete

Jhamp 10

Khanda

3/1

Dhi Na | Dhi Dhi Na | Ti Na | Dhi Dhi Na

Sool 10
Gadi Ghen

Khanda

3/2

Dha Dha | Din Ta | Kit Dha | Tita Kata |

Soorphank10
5
Gaddi Ghere Nag | Dha

Khanda

Rudra 11
11
Na | Ka | Tta

8/3

Dha | Tat | Dha | Titkit | Dhi | Na | Titkit | Tu |

Mani 11
4
Dhage Nadha Ttak

4/0

Dha Di Ta | Dhe Tta | Dhage Nadha Ttak |

Chou 12
Gadi Ghen

3/2

Dhaghere | Nagdha | Gherenag |

Tisra 4/2

Dha Dha | Din Ta | Kit Dha | Din Ta | Tita Kata |

Ek
12
6
Dhage Tirkit |

Tisra 4/2

Dhin Dhin | Dhage Tirkit | Thun Na | Kat Ta |

Dhin Dhin

Ras 13
13
| Nadha | Ttak

8/5

Dhi | Ttak | Dhi | Na | Tu | Na | Ka | Tta | Dhage

Dhin | Gin

Aarchou
14
7
Misra 4/3
| Tirkit Dhin | Dhin Dhin | Dhin Dhin

Dhin Tirkit | Dhin Na | Thun Na | Kat Tta

Dhamar
Na Ta -

Ka Dhi Ta | Dhi Ta Dha - | Ga Di Na | Di

14

Misra 3/1

Firdost
14
7
Misra 5/2
Dhin -dha Tirkit | Dhin Dhin Dhage Tirkit
| Tin -ta Tirkit | Dhin Dhin Dhage Tirkit
Deepchandi 14

Misra 3/1

Dha Dhin - | Dha Ge Tin - | Ta Tin - |

Dha Dha Dhin -

Panchamswari
15
4
Khanda
3/1
Dhin Tirakita Dhina | Kat
Dhidhi Nadhi Dhina | Tina Tina Tirakita Tuna | Katta Dhidhi Nadhi Dhina
Chitra 15
5
Khanda
Dhi Na Dhi | Dhi Na

3/2

Gajjhampa 15
4
3/1
Tin Nak Tak | Tita Kat Gadi Ghen

Dhi Na | Dhi Dhi Na | Tu Na Ka Tta | Ttak

Dha Dhin Nak Tak | Dha Dhin Nak Tak |

Teen/Tri
16
4
Chatasra
3/1
Dha Dhin Dhin Dha | Dha Dhin
Dhin Dha | Na Tin Tin Na | Tete Dhin Dhin Dha
Punjabi
16
4
Chatasra
Dha | Dha -Ti -Na Ta | Ta -Dhi -Na Dha

3/1

Dha -Dhi -Na Dha | Dha -Dhi -Na

Tilwada
16
4
Chatasra
3/1
Dhi | Ta Ttak Dhi Dhi | Dha Dha Dhi Dhi

Dha Ttak Dhi Dhi | Dha Dha Dhi

Thumri
16
4
Chatasra
Dhi | Dha Ti -Kra Ti | Ta Dhi -Kra Dhi

Dha Dhi -Kra Dhi | Dha Dhi -Kra

3/1

Shikhar
17
4
3/1
Dha Trak Dhin Nak Thun Ga | Dhin Nak
Dhum Kit Tak Dhet | Dha Tita Kata Gadhi Ghen
Vishnu
17
8
3/2
Dhi Tirkit | Dhi Na | Tu Na | Ka Ta | Tirkit
Dhi | Na Dhage | Nadha Ttak | Dhage Nadha Ttak

Matta 9
4
Sankirna
TereKete | Thunna KatTa

4/2

Dhin Dha | TereKete Dhin Dhin | Dhage

Lakhsmi
18
15
Sankirna
15/0 Dhin | Dhidha | Tirkit | Dhina |
Dhidha | Tirkit | Dhadha | Tirkit | Dhadha | Tirkit | Dhina | Dhidha | Tirkit | Tuna |
Kirnag | Tage | Ta | Tirkit
Saraswati
18
9
Sankirna
5/4
Dhe Na | Dha Ge | Ti Ta | Dha Ge | Tu Nna

Dha - | Dhi Na | Dhe Na | Ki Ta |

Arjun 20
Na Ka |

10

Chatasra

7/3

Dha - | Dhe Na | Na Ka | Dhe - | Dhe Na |

Dhe - | Dha - | Dhe Na | Na Ka

Ganesha
21
10
Misra 10/0
Di Ga Na | Dhi | Dha | Ta | Ka Dha Ta

Dha - Ki Ta | Ta | Ta - Ki Ta | Ta | Ka | Dha

Astamangala
22
8
8/0
Ta Ka | Dhe - Ta - | Ta Ka | Ga Di Ghe Ne

Dha Ki Ta | Ta Ka | Dhu Ma Ki Ta |

Brahma
28
14
Misra 10/4 Dha Tete | Dhet Kita | Tak Dhum | Kita
Tak | Dhet Ta | Dhet Ta | Dhage Tete | Tage Tete | Thun Na | Kat Ta | Dhi Na |
Dhage Nadha