PREFACE
INTRODUCTION
HISTORY
˙˙˙˙˙Origin of instrument
˙˙˙˙˙Pakhawaj
˙˙˙˙˙Kettle drum
˙˙˙˙˙The tawaif tradition
˙˙˙˙˙British period and independence movement
PARTS OF TABLA
˙˙˙˙˙Complete set
˙˙˙˙˙Parts of tabla
˙˙˙˙˙Parts of pudi
TUNING, CARE, AND MAINTENANCE
˙˙˙˙˙Tightening the bayan
˙˙˙˙˙Tuning the dayan
SITTING AND POSITIONING THE TABLA
˙˙˙˙˙Drum placement
˙˙˙˙˙Sitting position
BASIC EXERCISES
˙˙˙˙˙Purbi / Dilli techniques
˙˙˙˙˙Bol (mnemonic)
˙˙˙˙˙Ka
˙˙˙˙˙Naa
˙˙˙˙˙Home position (right hand)
˙˙˙˙˙Ga (Ge)
˙˙˙˙˙Home position (left hand)
˙˙˙˙˙Taa
˙˙˙˙˙Dhaa
˙˙˙˙˙Tin
˙˙˙˙˙Dhin
TALAND THEKA
˙˙˙˙˙Tal
˙˙˙˙˙Beat (matra)
˙˙˙˙˙Measure (vibhag)
˙˙˙˙˙Cycle (avartan)
˙˙˙˙˙Theka
˙˙˙˙˙Recitation
˙˙˙˙˙Clapping, waving and "sam"
˙˙˙˙˙Tintal
˙˙˙˙˙Jhaptal
˙˙˙˙˙Dadra
˙˙˙˙˙Dipchandi
˙˙˙˙˙Rupak
MODULATION
MORE BOLS
˙˙˙˙˙TiTa
˙˙˙˙˙TaRaKiTa
˙˙˙˙˙Tee
˙˙˙˙˙Too
˙˙˙˙˙Toon
˙˙˙˙˙Kat
˙˙˙˙˙Dhee
˙˙˙˙˙Kra
KAIDA
˙˙˙˙˙Kaida #1 (Dhaa Dhaa Ti Ta Dhaa Dhaa Too Naa)
˙˙˙˙˙Kaida #2 (Dhaa Dhaa TiRa KiTa Dhaa Dhaa Too Naa)
˙˙˙˙˙Kaida #3 (Dhaa Tee Dhaa Tee Dhaa Dhaa TiRaKiTa)
˙˙˙˙˙Discussion of Kaida
˙˙˙˙˙Kaida #4 (Nattu Khan's kaida)
MORE TALS, THEKAS, AND PRAKAR
˙˙˙˙˙Punjabi theka (sitar khani)
˙˙˙˙˙Ektal
˙˙˙˙˙Kaherava
˙˙˙˙˙Tintal prakars
˙˙˙˙˙Dadra prakars
˙˙˙˙˙Jhaptal prakars
˙˙˙˙˙Rupak prakars
PURBI BAJ
˙˙˙˙˙Purbi Taa, Dhaa, Ga, TiTa
˙˙˙˙˙TiRaKiTa
˙˙˙˙˙TiRaKiTaTaKa
STILL MORE BOLS
˙˙˙˙˙KiRaNaaKa, Taa-TiTaKiRaNaaKa
˙˙˙˙˙GiRaNaaGa, Dhaa-TiTaGiRaNaaGa
SIMPLE MUKHADAS
CONCLUSION
OTHER SOURCES OF INFORMATION
˙˙˙˙˙Internet sites
˙˙˙˙˙Suppliers of tabla
˙˙˙˙˙Other books and articles
GLOSSARY
QUICK REFERENCE PAGE FOR BOLS
INTRODUCTION
HISTORY
˙˙˙˙˙Origin of instrument
˙˙˙˙˙Pakhawaj
˙˙˙˙˙Kettle drum
˙˙˙˙˙The tawaif tradition
˙˙˙˙˙British period and independence movement
PARTS OF TABLA
˙˙˙˙˙Complete set
˙˙˙˙˙Parts of tabla
˙˙˙˙˙Parts of pudi
TUNING, CARE, AND MAINTENANCE
˙˙˙˙˙Tightening the bayan
˙˙˙˙˙Tuning the dayan
SITTING AND POSITIONING THE TABLA
˙˙˙˙˙Drum placement
˙˙˙˙˙Sitting position
BASIC EXERCISES
˙˙˙˙˙Purbi / Dilli techniques
˙˙˙˙˙Bol (mnemonic)
˙˙˙˙˙Ka
˙˙˙˙˙Naa
˙˙˙˙˙Home position (right hand)
˙˙˙˙˙Ga (Ge)
˙˙˙˙˙Home position (left hand)
˙˙˙˙˙Taa
˙˙˙˙˙Dhaa
˙˙˙˙˙Tin
˙˙˙˙˙Dhin
TALAND THEKA
˙˙˙˙˙Tal
˙˙˙˙˙Beat (matra)
˙˙˙˙˙Measure (vibhag)
˙˙˙˙˙Cycle (avartan)
˙˙˙˙˙Theka
˙˙˙˙˙Recitation
˙˙˙˙˙Clapping, waving and "sam"
˙˙˙˙˙Tintal
˙˙˙˙˙Jhaptal
˙˙˙˙˙Dadra
˙˙˙˙˙Dipchandi
˙˙˙˙˙Rupak
MODULATION
MORE BOLS
˙˙˙˙˙TiTa
˙˙˙˙˙TaRaKiTa
˙˙˙˙˙Tee
˙˙˙˙˙Too
˙˙˙˙˙Toon
˙˙˙˙˙Kat
˙˙˙˙˙Dhee
˙˙˙˙˙Kra
KAIDA
˙˙˙˙˙Kaida #1 (Dhaa Dhaa Ti Ta Dhaa Dhaa Too Naa)
˙˙˙˙˙Kaida #2 (Dhaa Dhaa TiRa KiTa Dhaa Dhaa Too Naa)
˙˙˙˙˙Kaida #3 (Dhaa Tee Dhaa Tee Dhaa Dhaa TiRaKiTa)
˙˙˙˙˙Discussion of Kaida
˙˙˙˙˙Kaida #4 (Nattu Khan's kaida)
MORE TALS, THEKAS, AND PRAKAR
˙˙˙˙˙Punjabi theka (sitar khani)
˙˙˙˙˙Ektal
˙˙˙˙˙Kaherava
˙˙˙˙˙Tintal prakars
˙˙˙˙˙Dadra prakars
˙˙˙˙˙Jhaptal prakars
˙˙˙˙˙Rupak prakars
PURBI BAJ
˙˙˙˙˙Purbi Taa, Dhaa, Ga, TiTa
˙˙˙˙˙TiRaKiTa
˙˙˙˙˙TiRaKiTaTaKa
STILL MORE BOLS
˙˙˙˙˙KiRaNaaKa, Taa-TiTaKiRaNaaKa
˙˙˙˙˙GiRaNaaGa, Dhaa-TiTaGiRaNaaGa
SIMPLE MUKHADAS
CONCLUSION
OTHER SOURCES OF INFORMATION
˙˙˙˙˙Internet sites
˙˙˙˙˙Suppliers of tabla
˙˙˙˙˙Other books and articles
GLOSSARY
QUICK REFERENCE PAGE FOR BOLS
| Arrangement | Percussion |
| Publisher | Mel Bay Publications |
| Contributors | Courtney, David(Composer) |