Kayda In Tabla
कायदा
Tabla speaks the language of sounds. Joyous
pressure of the wrist on the Dagga and bold and soft touches on the Tabla
create attractive sounds known as “varna” वर्ण or ‘’Bol” बोल in this rich dilect. Some
Varnas resemble and imitate sounds that humans utter. Such sounds have created
a language that is rich in minute distinctions and variations. The sounds like
“na” न and ‘’naa’’ना, “tin”तिन and ‘’tooh’’तू, ‘’din’’दिन and ‘’dhin’’धिन, ‘’ge’’गे and ‘’ghe’’घे, ‘’tat’’तत् and ‘’tita’’तिट, ‘’kat’’कत् and ‘’kita’’किट, ‘’tirakit’’तिरकिट and ‘’kitatak’’किटतक, ‘’dhet’’धेत् and ‘’dhita’’धिट are some of such
examples. With this, ‘’Varnamala’’वर्णमाला,
the alphabetical language of the Tabla has become unique, that stands apart
from any percussion in the world of music. It is a combination of some vowels
and consonants.
The Varnas ending with ‘’naa’’ना, ‘’taa’’ता, ‘’dha’’धा, ‘’tin’’तिन्, ‘’dhin’’धिन् linger in the atmosphere for a few seconds.
They easily mix up with 12 Swars in a Saptak. Apart from the sounds mentioned
above, there are many other Varnas that emerge from a single drum, as well as
from the combination of both the drums. A ‘’Bol’’ is always complete with the
combination of the vowel (s) and consonants. For example, ‘’dhin tirakit tak ta
tirakit tak’’धिनतिरकिटतकतातिरकिटतक is an attractive set of a
Bol that begins with Swar. This Bol is generally presented in a faster tempo.
In this, ‘’dhin’’ highlights the ‘tonic’ (Sa) and it adds to the beauty and
sweetness that combines with the ‘Sa’ of the ‘Nagma’ played along.
(Image from internet)The Kayda in terms of Tabla actually rules the
ruler. Here, the so called ‘ruler’ is the performer on the stage. He is totally
guided by the ‘’CHHAND”छन्द,
the composition in the form of a Kayda. Chhand is poem. It may also be called
as the meter that is followed further in each line.
In Arabic “Qayda” means rules, customs or regulations. With the help of
nagma, Kayda’s beauty is revealed, the structure is presented and all possible
embellishments are brought forth
by a talented performer. This elaboration is just mathematical, artistically
presented with ‘Dugun’दुगुन,
‘Tigun’तिगुन or ‘Chaugun’चौगुन, depending on the
structure of the Kayda. The performer very carefully chooses the ‘Laya’लय, plays the patterns,
variations and makes it attractive. The performer never allows himself to make
any change (s) in the theme of the Kayda. Within the sequences followed
thereon, the performer is totally engrossed and lets the listeners enjoy.
It is very difficult to define a Kayda due to its
rules and ‘do’s and ‘don’t’s. Kayda necessarily highlights the ‘Khand(s)’खण्ड of the Taal in which it
is woven and played. It reveals the beauty of ‘Bhari’भरी and ‘Khali’खाली with weighty and lighter
Varnas. The performer devotes himself with discipline and care.
The Varnas like ‘dhin’धिन, ‘dha’धा, ‘na’ना, ‘ta’ता are sonorous and they add
beauty to the structure of monotonous and ‘dry’ sounds like ‘tirakit’तिरकिट, ‘dhirdhir’धिरधिर, ‘taktaktirakit’तकतकतिरकिट …to name a few.
Another important feature of a Kayda is the
sequence in its presentation. ‘Mukha’मुखड़ा, ‘Dohara’दोहरा, Aadha Dohara’आधादोहरा, ‘Vishraam’विश्राम, ‘Aadha Vishraam’आधाविश्राम, ‘Palata’पलटा or ‘Bal’बल and ‘Tukda’टुकड़ा and ‘Tihayi’तिहाई to conclude.
Why a Kayda is taught?
Hindustani music is remarkably ‘good’ when the
performer is well aware of the structure of Taal. For a Tabla player, learning through
‘Gurukula’गुरुकुल, it becomes inevitable in knowing and absorbing the
micro facts about ‘Taal Shastra’तालशास्त्र. The structure of a Kayda reveals the number of Matrasमात्रा and Taal’sताल curves through bold and
lighter Varnas woven within.
A Kayda compels the learner to be in discipline.
This discipline has many dimensions. Here, a ‘tita’ can not become a
‘tirakit’ to suite the wish and will of the performer that may erupt instantly.
A Kayda gives lessons in learning diverse tempos.
Most of the students take fancy in ‘speed’ while in the beginning stage. The
attitude of speed proves to be fatal in the process of learning the concept of
‘Laya. Kayda allows either ‘Laya Ke Barabar’लय के बराबर or ‘Dedh Guna’डेढ़गुन, ‘Dugun’दुगुन, ‘Tigun’तिगुन, ‘Chargun’चारगुन as and when required. It
depends on the structure a Kayda.
After learning properly and then practicing the
number of Kaydas, a student becomes aware of different themes, intricate and
twisted Bandishes of different Gharanas.
Most listeners prefer instrumental music presented
at conferences, since wider part of it is covered by impressive pieces from Tabla
accompaniment. This is true mostly with string instruments like Sitar, Sarod,
Santoor etc. Here Tabla player presents
his skills through his lessons learnt through Kaydas.
Tabla has been flourishing since last three
centuries. With the advent of ‘Khyal’ख्याल, its usefulness was highlighted. At the
royal courts of Lucknow, Awadh and other princely states of north India, the
art of Kathakकत्थक dance flourished. The
‘Padanyaas’पदन्यास of the dancers was instantly
reproduced by the Tabla players. Attractive ‘counts’ and ‘Chakkars’चक्कर in rhythmic cycles
encouraged talents in Tabla players. They equaled the dancers’ pace, steps and
Chakkardaarsचक्करदार and then built their own
empire.
Thus, the art of solo performance in Tabla got its
inspiration.
