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Tabla Class Notes
Punjab Kayda : GeNaTiTeDhaGeNa...
  • Initially, practice this kayda by starting in even-tempo (baraabar laya) such that you can comfortably double the tempo (dogun).
  • After you have had some practice, try and introduce the kayda at 2-strokes/beat and then perform it at 4-strokes/beat. Choose a tempo that allows you to do this.
  • Play each variation (prakar or bal) 2-4 times or as many times as your time, energy (and patience) will allow.
  • The phrase groupings and permutation arrangement/s inside the prakars are shown by grouping sequences of bols in different background colors.
  • The tail portion of each half of the prakars uses the rhyming scheme of the kayda theme and is shown in this background color.
  • The progression from one prakar to the next can be seen by comparing adjacent prakars and noting the bols grouped in different colors.
  • In the table below, each vertical bar indicates one matra or beat.
  • Pay special attention to the fingering technique for the bayan bols noted below.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

The theme of the kayda. Each line of the kayda is made of two phrases: the 7-stroke phrase GeNaTiTeDhaGeNa and the 9-stroke phrase DhaTiDhaGeNaDhiNaGeNa. The phrase DhaGeNa can be played bothways - as Dha1GeNa and DhaGe1Na, of which the former is recommended for beginners and is indicated throughout the kayda below. Note that unless shown as Ge1, the Ge s should be played with two fingers (the middle and the ring fingers) on the bayan. Throughout the kayda the open versions of the Tin and Dhin should be played. Further, the Tin should be emphasized where possible. We indicate this by writing Tin as Tinoe.

Kayda
Theme

 Ge Na Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Tinoe Na Ke Na
Ke Na Ti Te Ta Ke Na Dha Ti Dha1 Ge Na Dhino Na Ge Na

Since each variation has to adhere to the same rhyming scheme as the kayda theme, variation I-VI below, all end each half with the 9-stroke pattern DhaTiDhaGeNaDhiNaGeNa. In variation I below, the patten (7+7+9)+9 (=32) is used in each half. This can be further permuted into the patterns (7+9+7)+9 and (9+7+7)+9 to yield two more variations. They are left as an exercise.

Prakar
I

 Ge Na Ti Te Dha1 Ge Na Ge Na Ti Te Dha1 Ge Na Ge Na
Ti Te Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Tinoe Na Ke Na
Ke Na Ti Te Ta Ke Na Ke Na Ti Te Ta Ke Na Ke Na
Ti Te Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Dhino Na Ge Na

Variation II has the (9+9+5)+9 pattern in each half. This can be permuted further into (9+5+9)+9 and (5+9+9)+9 patterns to create two additional variations (not shown here and left as an exercise).

Prakar
II

 Ge Na Ti Te Ti Te Dha1 Ge Na Ge Na Ti Te Ti Te Dha1
Ge Na Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Tinoe Na Ke Na
Ke Na Ti Te Ti Te Ta Ke Na Ke Na Ti Te Ti Te Ta
Ke Na Ti Te Dha1 Ga Na Dha Ti Dha1 Ge Na Dhin Na Ge Na

Variation III has the 2+(9+7+5)+9 pattern in each half. The subsequence (9+7+5) can have a total of 6 permutations. Of these we will use one more, namely (5+7+9) in variation IV below. The rest are left as an exercise.

Prakar
III

 Ge Na Ti Te Ti Te Ti Te Dha1 Ge Na Ti Te Ti Te Dha1
Ge Na Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Tinoe Na Ke Na
Ke Na Ti Te Ti Te Ti Te Ta Ke Na Ti Te Ti Te Ta
Ke Na Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Dhin Na Ge Na

Variation IV contains a permutation of the pattern contained in variation III above, namely, the pattern 2+(5+7+9)+9 in each half.

Prakar
IV

 Ge Na Ti Te Dha1 Ge Na Ti Te Ti Te Dha1 Ge Na Ti Te
Ti Te Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Tinoe Na Ke Na
Ke Na Ti Te Ta Ke Na Ti Te Ti Te Ta Ke Na Ti Te
Ti Te Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Dhin Na Ge Na
Variation V contains the pattern 2+(7+7+7)+9 in each half.

Prakar
V

 Ge Na Ti Te Ti Te Dha1 Ge Na Ti Te Ti Te Dha1 Ge Na
Ti Te Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na Tinoe Na Ke Na
Ke Na Ti Te Ti Te Ta Ke Na Ti Te Ti Te Ta Ke Na
Ti Te Ti Te Dha1 Ge Na Dha Ti Dha1 Ge Na