HISTORY 

If we observe nature we see that  every  phenomena is rhythmical: sun rising, planet orbitting and tide flow. Every growing phenomena is regular. On the other side, internal life of man is arrhythmical nowadays: feelings and emotions go one after another without stopping being irregular in their duration. It’s a real mess.
Evidence of table uses has been found at temples from the year 500 BC where two hands beating a table are drawn. This instrument has evolved as centuries went by. It is used in India and other Asian countries and produces a cautivating rhythm. It can be executed alone which includes great ability, or it can be played as a support instrument.
It consists in two table drums with wooden body and a patch made of goat leather with a paste in its center made of integral flour and iron smelting dreg which causes that particular sound and it’s stick by a lace also made of goat leather and finished by wooden pieces that are put between the lace and the helmet. The other drum is called bayan. It is circular, has a patch and tension system similar to the other one. The main characteristic is its low sound effect obtained by sliding your hand on the leather.
The tabla and bayan are played simultaneously by both hands in a strict rhythm model. The rhythm models of the table are formed producing a mixture of sounds (bol) playing various parts of the instrument which produces periodic beatings.
A beat is a cycled-limited time repetition from combined beatings of individual sounds. The sound is produced as a direct result from the hands and fingers impact on the various components of the divisions of the drums group. The individual bol (the sounds) is the matra elector. When the series are executed cyclical they produce the rhythm and are responsible to set the time. The cyclic reproduction of these bols composes a taal. A taal is a fixed number of matras and it is repeated. Variations of bols can be done, they can be put on the taals and they are called tukras, etc of the kaida. The time can be classified in three spades: Velocity :1) the vilambit (the slow time),2) the madhyam (the middle time) and the drut (the fast time). The player must have  ability to play Indian music because of these techniques, but it’s not important because in Hindu tradition NADA (sound) is the exact creation process, the instrument is the mean to reach a state of consciousness.

Methodology:

The study of the Tabla includes:
Different types of sounds
Sitting down ways
Tala: Teental, Dadra, Roopak,Ektal,
Tihail: Dhamdar, Bedamdar, Anaghat
 Tihail: Chakradam, Farmashi Chakradam
Kaidas, Tukras, Paltas, Kism, Peskar, Laki, Gat tukra, Mukra ,Param.