The English representation of bol sounds, both spoken and written, can make understanding pronunciation difficult and written notation ambiguous. Many different bols when put into English, appear the same. Using the Devanagri script clarifies the pronunciation but that is another level of learning not covered here.

For this reason it is best not to break down the compound bol into their constituent parts as the single stroke sounds sometimes vary when put together into a compound bol. It is best to focus on playing the bol exercises to build up your repertoire, this way you will be learning the practical use of strokes for Shanti Mandir chants.

There are major differences bet­ween the tabla bols and the pakhawaj bols so keep your attention on either tabla or pakhawaj.

Practice along with the videos in the BOL EXERCISES GALLERY making sure to follow the instructor to clap, wave, speak and play as he does.

Why clap, wave and speak?

Keeping time in Indian classical drumming is based on a system of claps and waves of the hand. Every measure of time or matra must be assigned either a clap or a wave. You could think of it as a conductor’s baton. The system is not only used to learn, but is also a way for players on stage to communicate without having to stop a performance.

Matra - beats

Matra is akin to metre in English and refers to beat. The bol exercises are all played with a regular measure of 2 or 4 beats.

Where is the 1?

At this point it is good to understand the importance of “the 1” in Indian Classical music. Watch the clap, wave and speak demonstration in any of the videos and you may notice an emphasis on the first count in the pattern; the 1. It is called the sam (pronounced sum). Sam, the 1, is like the main point of orientation in Indian Classical music, it provides a kind of ‘restart point’ for musicians when playing together.