Drumset Adaptations of North Indian Tabla By Jerry Leake
T
he South Indian rhythm system of Carnatic music is based largely on mathematics for stringing together rhythm cells of various durations to fit a given rhythm cycle. The rhythm system of North India is based primarily on fixed, extended compositions rendered on North Indian tabla. The goal of this article is to adapt shorter tabla phrases into potent grooves for accompanying music in practical, real-world applications. Before presenting specific examples, here is some general background of North Indian music.
TERMINOLOGY
Dayan: Although the pair of drums is called tabla, the term “dayan” is applied to the high drum made from wood. Dayan literally means right or right drum. Bayan: The metal low drum that produces bass tones. Bayan literally means left or left drum. Bol: This means “word” and refers to the syllables that are an onomatopoetic representation of tabla sounds. Bol can also represent an entire composition. Tala: The rhythmic component of North Indian classical music performed on any percussion instrument such as tabla, pakhawaj, or naqqara. Sam (pronounced Sum): Beat one of a given rhythmic cycle, emphasized by a clap of the hand, notated using “+”. Bharee: The portion of a tabla phrase that is emphasized with bass tones of the bayan. Literally meaning “full.” Khali: the portion of a phrase not emphasized by bass bayan tones. Khali means “empty” and is indicated by a outward wave of the hand, notated using “o”. Matra: Meaning “stroke” or beat. Kinar: The outer portion of the dayan that is metallic in character. The kinar stroke (na/ta) is the most commonly used stroke on tabla. Sur: the harmonic tone (tin) that results when the dayan is struck directly between the kinar and the gab. Gab: Black circle for closed tones: tete/tira kita, made from rice powder and iron filings, formed into a paste, rubbed onto the goatskin in layers. RHYTHMIC CYCLES
Tintal: 16-beat cycle subdivided into four equal groups (4 + 4 + 4 + 4 = 16) Jhaptal: 10-beat cycle subdivided into four groups (2 + 3 + 2 + 3 = 10) Kaharwa: 8-beat cycle subdivided into two equal groups (4 + 4 = 8) Rupak Tal: 7-beat cycle subdivided into three groups (3 + 2 + 2 = 7) Dadra Tal: 6-beat cycle subdivided into two equal groups (3 + 3 = 6). CLASSIFICATION OF TABLA BOLS
One of the more challenging and beautiful aspects of tabla is the use of spoken syllables (“bols”) to represent drum sounds. However, this language-based system can be somewhat daunting to students trained using drumset notation. Always try to speak each phrase clearly to grasp the inherent rhythmic “poetry.” Drumset variations are derived using a general categorization of tabla 3(5&866,9(127(6
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bols. To avoid hampering improvisation and variation we will not establish a strict system. Below is an abridged list of tabla bols with basic classifications of sound quality: sustaining or non-sustaining tones, highpitched, bass sounds. To the right of each bol are suggested drumset interpretations. The third column includes western notation. Drumset Dayan (high drum) ta/na: single stroke on high drum, metallic in sound. Long sustaining tone. tin/tun: single stroke, produces the open “ring” of the tabla. Long sustaining tone. Bayan (low drum) ge/ga: single stroke, bass tone, sustaining. Tabla and Bayan, sustaining tones dha (na + ge) most common stroke on tabla strong emphasis. dhin (tin + ge) open “ring” of tabla with low bayan, emphasis
cymbal, hi-hat, snare
cymbal, hi-hat, snare
bass drum or toms
cymbal or hi-hat with snare or bass drum, strong emphasis. open hi-hat or bell of cymbal with bass drum; receives emphasis.
non-sustaining tones te te: paired strokes on dayan,medium tempo (eighths).
paired strokes on drumset, eighth note ride or hi-hat.
tira kita: four successive strokesusing dayan and bayan. Fast tempo (sixteenths).
four strokes hi-hat/cymbal and snare; paradiddles.
KEHARWA ON DRUMSET
Notation
Keharwa is a popular 8-beat “folk” tal that transcribes to one- or twobar grooves on drumset. Variations are often derived by starting from different beats of the phrase resulting in unique and evolving develop-
See a video of examples given in this article by accessing the digital version of this issue at www.pas.org/publications/jan13digitaledition/
ment. Phrase displacement requires no change in technique; however, the rhythm will sound and feel quite different. Annotations will indicate which phrases to displace. Each example includes the tabla language followed by the corresponding drumset transcription. Always speak the phrase first (refer to the video link), speak while playing drumset, and play drumset without speaking.
Video
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STYLISTIC POSSIBILITIES
Each variation can be played at slow, medium, and fast tempo. In slow to medium tempo these examples work well in Latin settings; by swinging the phrase they work in contemporary jazz and hip-hop styles. A more Jo-Jo Mayer-inspired “drum’n’bass” approach results at fast tempo with rim clicks on snare replacing open drum tones. 1.
2. (Also start from the 2nd beat.)
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6. (Also start from the 2nd beat.)
3. (Also start from the 2nd and 3rd beat.) 7. (Also start from the 4th beat of bar 2.
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KAIDA ON DRUMSET
Among the many tabla compositional forms, kaida is most widely used because of the tremendous variety of rhythm and variation. A kaida consists of a main theme with variations derived by extrapolating and developing elements of the original theme, shuffling the deck of possibilities. Presented below are nine tintal (16-beat) kaida themes, with the player encouraged to explore variations by shuffling the elements. 1.
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the sounds of each instrument are unique. However, by discovering the ancient origins of world music, one may fully realize the infinite possibilities.
VIDEO
(1) practice the spoken tabla phrase; (2), hear phrases played on tabla; (3), hear phrases played on drumset; (4) hear phrases played simultaneously on tabla and drumset. My New England Conservatory student Zach Para is heard playing all drumset examples. CONCLUSION
Rhythmic inspiration can be derived from seemingly unlimited sources, cultures, and concepts to broaden a player’s vocabulary and imagination. These ideas are not designed to make you sound like a tabla player;
Jerry Leake is an Associate Professor of Percussion at Berklee College of Music and the New England Conservatory. He leads the world-rock-fusion octet Cubist (cubistband.com), which performs compositions from his 2010 acclaimed Cubist CD. In 2011 he released Cubist Live with renowned Berklee faculty, and Mobeus with jazz legend Rakalam Bob Moses. Jerry is cofounder of the world-music ensemble Natraj and performs with Club d’Elf and the Agbekor Society. Jerry has written eight widely used texts on North and South Indian, West African, Latin American percussion, and advanced rhythm theory (Rhombuspublishing.com). Jerry is also former president of the Massachusetts PAS Chapter, and was a presenter of his “Harmonic Time” concept at a 2011 TEDx Seminar in Cambridge, Mass. PN
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