The tabla is derived from the Arabic word “tabl”, meaning drum. A popular theory is that the tabla was invented by splitting a single horizontal drum known as the pakhawaj into two drums that eventually evolved into the tabla. The earliest depictions and descriptions of the tabla as we know them today date back to the 18th century. Today the rhythmical sounds of the tabla are primarily heard in both classical and popular music of North India and Pakistan while it is continuously gaining respect in the West.

The tabla is an instrument which is full of emotion. The more one plays it with feeling the more sweet it sounds. Many refer to it as the “Talking Drum”! There are many reasons why this may not be so far fetched. For instance, when one learns the tabla, a major component is to be able to vocalize everything you play. One usually learns how to say each of the compositions or individual strokes before they even begin to refine their hand position on the tabla. Secondly many of the compositions are created in a manner of “Sawal Jawab” questioning and answering between the duggi (base) and the purra (treble) resembling a conversation that the two drums are having with each other and/or with the listener and/or with the performer. Thirdly, the word Tabla itself may be broken down into “TA-BOLA”. “Ta” is the name and sound of one of the most predominant strokes on the purra and “Bola” translates to “it said” in Punjabi and Hindi; essentially Tabla means “It Said Ta”

The two separate drums which comprise to make a tabla are a bass drum known as “duggi” and a high pitched treble drum known as “purra”.

The base of the purra is made out of wood. The tendancy is to use hard woods such as teak or rosewood “shisham”. The purra base is usually shaped like a cylinder and hollowed out from the inside leaving a shell which is approximately 1.5 cm thick along the sides and about 5cm to 6cm thick at the bottom; the top to which the skin is attached is left open.

The base of the duggi is made of metal. The most common metal used is brass, however duggi’s made from copper and iron are also found. In the past, clay was a popular material used to create the base also. The shape of the duggi resembles a sphere. It is also hollow on the inside with a shell that is usually 2mm to 3mm thick. The top is left open at one end to which a skin or membrane is attached. In general a heavy duggi is preferred in order to get a full resounding low end bass sound out of the drum.

On both the duggi and the purra there is a black spot attached to the goat skin membrane. The black spot is referred to as “shahi” which is a paste made from iron filings, rice, and ink. A wet shahi is placed in a circular manner on the goat skin membrane. The shahi dries and attaches to the skin. The purpose of the shahi is to add weight to the membrane. The final spot is a hard brittle structure with small natural cracks in it to form small grains. The sounds and pitch created by the tabla are due to the fact that the small particles vibrate with each other at their natural frequency when the membrane is struck. The thickness and size of the shahi along with the diameter of the purra or duggi play a major role in the natural frequency the drum will produce.

The skins of the tabla are fastened to the duggi and purra respectively with a thick rawhide, usually that of a goat or buffalo, known as “badri”. The badri has a dual purpose in that it keeps the top skin fastened to the base and creates tension in the skins which allows one to adjust the pitch in the tabla. The pitch of the purra may be adjusted by placing wooden dowels between the badri and the wooden base. By adjusting the location of the dowels one can attain an even sounding pitch around the circumference of the purra. Each purra will have its own natural range in pitch. If you try to sharpen the pitch sound beyond its natural range there is a high possibility the skin will rip or become damaged. Also if the tension is reduced in the badri and skin to a point below the purra’s natural range a flat or unpleasing sound will be attained. The coarse tuning of the tabla is carried out by adjusting the dowels and tension in the badri; however, the fine tuning of the purra is carried out by hitting the rim of the purra to adjust the tension in the badri and skin. Smaller dowels may be placed under the badri of the duggi to ensure there is enough tension in the duggi’s skin to obtain a pleasant sound when the membrane is struck.

The tabla is usually played while sitting cross legged on the ground. This is not a mandatory position to be playing the tabla; however, it is the most commonly seen. In order to ensure that the tabla stays in place a holder known as a “binna” is placed under both the purra and duggi. The binna helps in rotating and holding the duggi or purra to an ergonomically correct place for the individual to play comfortably.

The tabla is an instrument which is quite complex in nature. Everything from the manufacturing of the individual components to the hand and body positions necessary to attain the precise sound one is listening for in a composition. As a result many people either are very intrigued by or very apprehensive to learn the tabla. It is often believed that those who know how to play the tabla have the ability to play any other hand percussion instrument with little or no training if there is still that dedication to practice and love for music.

There is much about this traditional instrument which is unknown or which is kept under lock and key somewhere in the confines of a small village in India. But, there is no disputing the beauty and sound which is created when one plays this instrument with passion…when you get a chance, try to listen to what it has to say to you!