Master Traditional Tabla Compositions and Gharana Styles
Explore the distinct dialects of tabla through these traditional compositions. From the delicate fingerwork of the Delhi Gharana to the powerful, resonant strokes of Banaras, each piece carries the wisdom passed down by my Gurus.
Presenting a traditional Kayda composition from the Ajrada Gharana, originally composed by the great Ustad Habibbudin Khan Sahab. This style is known for its intricate and elegant rhythmic patterns.
A short clip from a concert in Los Angeles, where I played a traditional Baatt, a type of Kayda from the Banaras Gharana. The Banaras style is known for its powerful and clear sound.
Here is a glimpse of a Gatt composition from the Banaras Gharana, performed during a tabla solo at Khairagarh University. The Gatt is a fixed composition often played at a fast tempo.
In this video, I am playing a Bandish from the Punjab Gharana, originally composed by Ustad Firoz Khan Sahab. The Punjab style is famous for its diverse and powerful repertoire.
A Kayda composition from the Farukhabad Gharana, attributed to Ustad Amir Hussain Khan Sahab. This gharana is celebrated for its clarity and the beautiful resonance of its bols (strokes).
A combination of two beautiful Kaydas from the Delhi Gharana. The Delhi style is the oldest of the six main tabla gharanas and is known for its delicate and sophisticated fingerwork.
During a practice session, I attempted to play two traditional 'Fard' compositions from the Banaras Gharana. Fard are unique, short compositions that add variety to a performance.
Playing a Mishra Jati (mixed rhythm cycle) composition created by my Guruji, Pt. Yogesh Samsi ji. It is a joy to interpret and present the creative works of my own teacher.
A beautiful Rela composition by my elder brother, Shri Kedar Mukadam. A Rela is a fast-paced composition that showcases a player's speed and clarity.
About Traditional Compositions & Gharanas
My focus in these compositions is on the Nikas, or the clarity of sound. Whether you are learning a Kayda from the Farukhabad Gharana or a Rela from the Punjab school, we break down the finger positioning and wrist weight first, because speed without tonal clarity is just noise.
Tabla is not just about playing beats, it is a language with dialects we call Gharanas. When I teach or perform, I prioritize the specific aesthetic of the school the composition belongs to. For instance, the Delhi Gharana demands sophisticated and delicate fingerwork that speaks with clear articulation. In contrast, the Banaras Gharana offers a robust and resonant sound that requires a different approach to the dayan and bayan drums.
I often use traditional forms like Kayda, Rela, and Gat to teach these distinctions. A Kayda is a structured framework that allows for immense creative freedom, while a Rela is designed to test your endurance and speed. By studying these from the perspective of their original composers, such as Ustad Habibbudin Khan Sahab for the Ajrada style, you learn more than just the notes. You learn the intent.
If you are looking to deepen your riyaz, we can focus on these specific styles during private sessions. I provide guidance on hand posture, Nikas, and how to maintain the traditional integrity of the bols while you improvise.
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