Tabla Bol Library
Tabla Bol Library or Tabla Syllables Library is an collection of Tabla phrases. We discussed many basic and advanced syllables in detail. But, soon we will update all the possible phrases. We have added a written description (Tabla notes) and a short easy-to-follow instructional video tutorial for each bol separately. You can learn about basic techniques with the help of these videos and notes and fine-tune your tonal correction.
These lessons are specially designed for the freshers and intermediate players of Tabla. You can benefit from the Tabla Bol Library uploaded lessons. Please also do check the short-listed pages at the end of this page, Which will provide useful links to pages related to the different topics of Tabla & Indian Classical Music as well. Just deep dive into the endless world of music and enhance your knowledge.
-Important Note-
Before learning Tabla notes please check the following Image. We use three words in our videos regarding the placement of the fingers - Kinaar, Maidan, & Syahi. Please remember this when reading the tabla notes.
Tabla Bol Library - Sec 1 (Right Hand Phrases)
To play this tabla bol/phrase We should set our ring finger at the edge of the syahi of the right-hand drum. Middle finger high from the syahi. With the Index finger when we hit the kinaar It sounds "Ta or "Na'.
| Points to remember: |
| 1. Keep your ring finger at the edge of the syahi. |
| 2. Hit with just the first block of the finger, not with full finger. |
| 3. Don’t Touch middle finger down. Keep it high. |
| 4. Use full hand movement. |
To play this phrase or bol We should set our ring finger at the edge of the syahi of the right-hand drum. Middle finger high from the syahi. With the Index finger when we hit the Maidan area It sounds "Tin'. The sound depends on the timing. You should hit as quickly as you can. Just touch and go.
| Points to remember: |
| 1. Maintain your index finger high after hitting the phrase. |
| 2. Keep ring finger aligned with syahi edge to control the extra resonance. |
| 3. Use a lightweight hit. |
We should set our ring finger at the edge of the tabla (approximate idea) of the right-hand drum. Middle finger high from the syahi. With the Index finger when we hit the edge of the syahi It sounds "Tu' (For placement watch the video given below). The sound depends on the timing. You should hit as quickly as you can. Just touch and go.
| Points to remember: |
| 1. Maintain your index finger high after hitting the phrase. |
| 2. Keep ring finger at the edge of the tabla as it should not disturb or control the resonance. |
| 3. Use a lightweight hit. |
For Tit we should hit the center of the syahi two times with the middle and index finger respectively. These both hits are block hits, which means no resonance this time. The middle finger should hit first and then index, but in some cases, we have to use reverse Tit. This depends on the requirement of the composition.
| Points to remember: |
| 1. Maintain your other finger high while first is hitting the phrase. One finger at a time. |
| 2. Keep ring finger at the edge of the syahi as it will give you proper balance. |
| 3. While practicing use heavy pressure and light when performing. |
| 4. There is one more Tit from Purab ang. They play “Ti” with the middle and ring finger and “t” with the index. |
Tabla Bol Library - Sec 2 (Left Hand Phrases)
This is the easiest phrase or tabla bol we have on Bayan (Bass Drum). For this, we should set our wrist at the edge of the syahi. Keep your fingers straight and joined and hit a flat hit on kinaar.
| Points to remember: |
| 1. Keep all the fingers joined and straight. |
| 2. It is a block hit. |
| 3. While performing (mostly in Light music) we change the placement pattern sometimes to adjust the tonal effect of the bol. |
| 4. There are no special instructions but as per the requirement of the composition, We should adjust the pressure sometimes. |
For Kat We should keep our hand straight and hit a flat block hit on the bayan. It is block hits, which means no resonance this time. It is a single hit bol but in some cases, we have to use double-hit Kat, It totally depends on composition excution.
[NOTE: Right now we are just discussing single hit Kat.]
| Points to remember: |
| 1. Maintain your fingers aligned and straight while first is hitting the phrase. |
| 2. Maintain some height from bayan and then play. |
| 3. In some compositions it works like double hit phrase. |
| 4. We can adjust the placement (in light music) to change the tonal effect of the bol. |
Ghe is a bass hit on Bayan. It is a resonating hit. We should place the wrist on the edge of the syahi and maintain our middle and ring fingers curved. Then we have to hit the tip of the fingers on the maidan area quickly (For movement of this tabla bol please watch the video given below). It is a single hit bol but in some cases, we have to use different hand movements like slide, bounce, etc. It totally depends on composition execution.
[NOTE: Right now we are just discussing basic Ghe sound.]
| Points to remember: |
| 1. Maintain your middle and ring fingers aligned and curved. |
| 2. Maintain some height from bayan and then play. Height also allows you to build some pressure |
| 3. In some compositions When we play "Ghe Ghe Ghe Ghe" in continuation. We play it as alternate hit middle+ring and then index. |
| 4. We can adjust the tonal effect of the bol by adjusting the hand pressure and movement. |
Ge is another bass hit on bayan. It is also a resonating hit. We should place the wrist on the edge of the syahi and maintain our index fingers curved. Then we have to hit the tip of the finger on the maidan area quickly (For movement please watch the video given below). Mostly used in DhaGe, DhaGENa, Gena, etc, combinations.
[NOTE: When we play multiple Ghe sounds we consider this as Ghe as when we need speed. Then Playing with alternate fingers will help us to gain speed easily.]
| Points to remember: |
| 1. Maintain your index finger aligned and curved. Hit hard in starting as this finger has less weight than others. |
| 2. Maintain some height from bayan and then play. Height also allows you to build some pressure |
| 3. In some compositions When we play "Ghe Ghe Ghe Ghe" in continuation. We play it as alternate hit middle+ring and then index. Then consider it as Ghe. |
| 4. We can adjust the tonal effect of the bol by adjusting the hand pressure and movement. |
Tabla Bol Library - Sec 3 (Phrases with both hands)
Dha is a combined sound. It is a resonating hit. We have to use two Tabla bols to produce this sound.
Ghe - We should place the wrist on the edge of the syahi and maintain our Ring and Middle fingers curved. Then we have to hit the tip of the finger on the maidan area quickly (For movement please watch the video given below).
Mostly used in DhaGe, DhaGENa, Gena, etc, combinations.
[NOTE: When we play multiple Dha sounds we use alternate fingers on bayan to gain speed easily. But still it is Dha.]
| Points to remember: |
| 1. Use alternate hits on bayan when performing multiple Dha sounds. |
| 2. Maintain some height from bayan and then play. Height also allows you to build some pressure |
| 3. We can adjust the tonal effect of the bol by adjusting the hand pressure and movement. |
Dhin is a combined sound. It is a resonating hit. We have to use two Tabla pharses to produce this sound.
Ghe - We should place the wrist on the edge of the syahi and maintain our Ring and Middle fingers curved. Then we have to hit the tip of the finger on the maidan area quickly (For movement please watch the video given below).
The second Hit is Tin on the maidan area of tabla with the index finger. It is also a resonating hit. When we perform these two hits at once, It produce Dhin.
| Points to remember: |
| 1. Control the extra resonance of Tin with the help of the ring finger. |
| 2. Maintain some height from bayan and then play. Height also allows you to build some pressure |
| 3. We can adjust the tonal effect of the bol by adjusting the hand pressure and movement. |
This is a combined phrase consisting of four Tabla bols. TI / T / KI / T.
TI - When we hit a block note in the center of the syahi of Tabla with the middle finger, It is 'TI'.
T - After 'TI', we hit another block note in the center of the syahi of Tabla with the index finger, It is T.
KI - Ki we play on bayan. We should rest the wrist on the edge of the syahi. Fingers should be straight and aligned. Then the sound produced with a flat hit is KI. Also known as KA / KE / KI,
T - This last fourth we play in the center of the syahi with ring finger. It is also a block hit.
[NOTE: Purab Baaj Titkit (Type 2) is different than this. They use middle and ring fingers to play the first and last hit - "Ti - - T".
"- T Ki -" same as discussed above]
| Points to remember: |
| 1. There is no resonance used in this phrase as all hits are blocked. |
| 2. We mostly use Type 1 Titkit in higher tempos. |
| 3. There are two ways to play titkit. Select the correct as required by the composition. |
Tabla Bol Library - Sec 4 (Additional Phrases)
Titt is a strong and sharp sound on the kinaar. It is a non-resonating hit. We have to use both kinaar and maidan of the Tabla to produce this sound. With the tip of the index finger, we should strike a block hit on the joint of kinnar and maidan area.
Mostly used in light music, and kawaali for strong effects.
| Points to remember: |
| 1. It should sound strong and sharp, but sometimes we produce a soft effect as required by the music. |
| 2. Maintain the rest of the fingers anchored on the syahi for better grip which allows you to build some pressure |
| 3. We can adjust the tonal effect of the bol by adjusting the hand pressure and movement. |
Ditt is a strong and sharp sound on the kinaar. It is a non-resonating hit. We have to use both hands to produce this sound. With the tip of the index finger, we should strike a block hit on the joint of kinnar and maidan area along with 'Ghe' on bayan.
Mostly used in light music, and kawaali for strong effects.
| Points to remember: |
| 1. It should sound strong and sharp, but sometimes we produce a soft effect as required by the music. |
| 2. Maintain the rest of the fingers anchored on the syahi for better grip which allows you to build some pressure |
| 3. We can adjust the tonal effect of the bol by adjusting the hand pressure and movement. |
Dhit is a combined sound. It is a non-resonating hit. We have to play Dhi ('Ghe' and 'ti' together) followed by 't' with the index finger at the center of the tabla to produce this sound.
Mostly used in Kayda, Tukda, Chakardar, Paran, etc, compositions.
| Points to remember: |
| 1. Sometimes we play Dhit reverse as required by the composition. |
| 2. We can play 'Dhi' with single or 'middle+ring' on tabla. |
| 3. We can adjust the tonal effect of the bol by adjusting the hand pressure and movement. |
Tinnak is a combined sound for four syllables. It is a semi-resonating hit.
Ti - very light and quick hit with the index finger at the edge of the syahi.
N - close the ongoing resonance by a light strike of the ring finger at the edge of the syahi.
Na - Na with the index finger on kinaar as Ta.
K - Ka is a flat hit on the bayan with a full hand.
| Points to remember: |
| 1. It is a soft hit so don't use much pressure. |
| 2. As it is a soft hit you need to practice a little longer to maintain the tone. |
| 3. While practicing if 'Ti' is pressurized then it will help to fix its tone and effect in higher tempos. |
Dhinnag is a combined sound for four syllables. It is a semi-resonating hit.
Dhi - We combine two hits 'Ghe' & 'Tin (maidan area)' together at once.
N - close the ongoing resonance by a light strike of the ring finger at the edge of the syahi.
Na - Na with the index finger on kinaar as Ta.
G - 'G' or 'Ge' is a resonating hit on the maidan area of bayan.
| Points to remember: |
| 1. Add a little pressure on the bayan for "Dhi". |
Tinkin is a combined sound for four syllables. It is a semi-resonating hit.
Ti - We play with index finger at the edge of the syahi.
N - close the ongoing resonance by a light strike of the ring finger at the edge of the syahi.
Ki - This is a flat hit on bayan as 'Ka' or 'Ke'.
N - close the ongoing resonance by a light strike of the ring finger at the edge of the syahi.
| Points to remember: |
| 1. It is a soft phrase so don't play with much pressure. |
| 2. As it is a lightweight hit, So we need to practice more and speed up slowly. |
Dhingin is a combined sound for four syllables. It is a semi-resonating hit.
Dhi - We play with index finger at the edge of the syahi along with 'Ghe' on bayan.
N - close the ongoing resonance by a light strike of the ring finger at the edge of the syahi.
Gi - This is a resonating hit on bayan as 'Ge' or 'Ga'.
N - close the ongoing resonance by a light strike of the ring finger at the edge of the syahi.
| Points to remember: |
| 1. It is a soft phrase so don't play with much pressure. |
| 2. As it is a lightweight hit, So we need to practice more and speed up slowly. |
Tin or Tene is a combined sound for two syllables. It is a resonating hit.
Ti - very light and quick hit with the index finger at the edge of the syahi.
N - close the ongoing resonance by a light strike of the ring finger at the edge of the syahi.
| Points to remember: |
| 1. It is a soft hit so don't use much pressure. |
| 2. As it is a soft hit you need to practice a little longer to maintain the tone. |
| 3. While practicing if 'Ti' is pressurized then it will help to fix its tone and effect in higher tempos. |
Katit is a combined phrase consisting of three Tabla bols. Ka / TI / T.
Ka - It is a flat hit on bayan with the full hand as 'Ke' or Ki'.
Ti - You can play this phrase with two different styles. First, with the middle and ring finger at the center of the syahi as a block hit. Second, with the middle finger only at the center of the syahi as a block hit.
T - We play at the center of the syahi with the index finger. It is also a block hit.
| Points to remember: |
| 1. There is no resonance used in this phrase as all hits are blocked. |
| 2. We mostly use 'Ti' as the middle+ring finger hit. |
| 3. We don't use reverse Tit in this phrase. |
Krdha is a combined phrase consisting of three Tabla bols. Ka / TI / Dha. It is almost like 'Katdha' (If don't know watch Katdha from the bol list).
Kr - It is a combined phrase, We need to play 'Ke' on bayan and 'Ti' on tabla very close to each other.
Dha - For 'Dha', play 'Ghe' and 'Ta' together.
| Points to remember: |
| 1. There is not much resonance in this phrase except 'Dha'. |
| 2. We mostly use 'r' as the middle+ring finger hit at the center of the syahi. |
| 3. Use natural hand weight, Don't add much pressure. |
Krdhin is a combined phrase consisting of three Tabla bols. KA / TI / Dhin. It is almost like 'Krdha' (If don't know watch Krdha from the bol list).
Kr - It is a combined phrase, We need to play 'Ke' on bayan and 'Ti' on tabla very close to each other.
Dhin - We can play in two ways. First, 'Ghe' + 'Tu' on syahi. Second, 'Ghe' + 'Tin' on the maidan area.
| Points to remember: |
| 1. There is a resonating phrase. We mostly use 'r' as the middle+ring finger hit at the center of the syahi. |
| 2. Choose 'Dhin' as required by the composition. Watch the video for more info. |
| 3. Use natural hand weight, Don't add much pressure. |
Kidnak is a combined sound for four syllables. It is a semi-resonating hit.
Ki - It is flat hit on the bayan with full hand on bayan.
D - It is a light strike of the ring finger at the edge of the syahi.
Na - Na with the index finger on kinaar as Ta.
K - Ka is a flat hit on the bayan with a full hand.
| Points to remember: |
| 1. It is a soft hit so don't use much pressure. |
| 2. As it is a soft hit you need to practice a little longer to maintain the tone. |
| 3. While practicing if 'Ki' is pressurized then it will help to fix its tone and effect in higher tempos. |
Ghidnag is a combined sound for four syllables. It is a semi-resonating hit.
Ghi - It is a resonating hit on the bayan with the tips of the middle and ring fingers on the maidan area as 'Ghe'.
D - It is a light strike of the ring finger at the edge of the syahi.
Na - Na with the index finger on kinaar as Ta.
G - It is a resonating hit on the bayan with the tips of the index finger on the maidan area as 'Ge'.
| Points to remember: |
| 1. It is a quite strong hit so use some pressure on 'Ghi'. |
| 2. While practicing maintain a little pressure on bayan. |
This is a resonating phrase and played with all the fingers together. Keep all the finger together and straight. Then hit the center of the tabla as a quick hit like 'Tin', It should produce strong resonance.
| Points to remember: |
| 1. This must resonate. |
| 2. Don't keep your fingers open. |
| 3. It is also used as 'Din', 'Dun', 'Thun'. |
KdaSn is a resonating phrase. It has two executions. First, We need to play 'Kata' quickly with not much gap and then leave the phrase resonating. To resonate you need to play 'Ta' quickly without blocking the kinaar. Second, We need to play 'Kata' as a single hit (both hands together) and then leave the phrase resonating. To resonate you need to play 'Ta' quickly without blocking the kinaar.
| Points to remember: |
| 1. This Must resonate. |
| 2. Don't play 'Ta' as a block hit. |
| 3. Choose the way to play KdaSn as required by the composition. |
GhdaSn is a resonating phrase. It has two executions. We need to play 'Ghe and ta' quickly with not much gap and then leave the phrase resonating. To resonate you need to play 'Ta' quickly without blocking the kinaar.
| Points to remember: |
| 1. This Must resonate. |
| 2. Don't play 'Ta' as a block hit. |
| 3. Use 'Ghe' as a strong hit as the phrase itself should sound strong and loud. |
Katdha is a combined phrase consisting of three Tabla bols. Ka / TI / Dha.
Ka - It is a flat hit on bayan with the full hand as 'Ke' or Ki'.
Ti - For this, You should play with the middle and ring finger at the center of the syahi as a block hit.
Dha - It is a combination of 'Ghe' +'Ta'.
| Points to remember: |
| 1. There is no resonance used in this phrase, except 'Dha'. |
| 2. We must use 'Ti' as the middle+ring finger hit at the center of the syahi. |
| 3. Play 'Ka' from a height to develop some good effect. |
This is a combined phrase consisting of four Tabla bols. Ga / Di / Ge / N.
Ga - It is a resonating hit on the maidan area of the bayan with fingertips of the middle and ring fingers.
Di - Keep all the fingers together and straight. Then hit the center of the tabla as a quick hit like 'Tin', It should produce strong resonance.
Ge - It is a resonating hit on the maidan area of the bayan with the fingertip of the index finger.
N - It is a soft hit at the edge of the syahi on tabla with middle and ring fingers.
| Points to remember: |
| 1. There is a resonating phrase. |
| 2. We use pressure on 'Di' while practicing to fix the tonal correction. |
| 3. Alternate the bayan hits for 'Ga' and 'Ge'. |
Hello! Friends, We are regularly updating our Tabla Bol Library with new videos with detailed instructions. We will keep updating this page every few weeks. Please stay connected on our social media platforms to stay updated with the new posts. Tabla Bol Library is a project to share knowledge to the last mile. This project will stay forever free as this digital library of Tabla Bols is a very much requested topic from the students. Because, In theory, it is not very clear about the execution of the bol or phrase. With this Digital Tabla Bol Library, anyone can learn the bol execution in a very interactive and easy way.
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