Tabla Lesson Nine
Rhythm Filler Pieces

by Ashwin Batish
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He specifically asked me to elaborate a statement I had made in one of my previous RagaNet Tabla Lessons and that was on the issue of how does one provide the filler pieces in an existing rhythm cycle. So I thought this would make a good article for RagaNet so here is some information on this.

When deciding to learn about how to fill a tala with these filler phrases, you have to understand some important questions first:

• Why Fill?

  A tabla theka is a repeating rhythmic cycle. When you first learn it you are happy just to get a sound and then the more you play and get practiced, playing the same piece over and over again starts sounding monotonous. With a good teacher by your side, this process is less noticable as you get quickly put on a regiment of kaidas, tukadas, mukhadas, relas etc. .... well I hope so :)

  Even so,it is not often that these filler pieces are taught by a teacher. But if looked at carefully, they are the final result of becoming a well versed tabla player. What I mean by this is that as your study of the tabla gets into high gear, these pieces automatically start to filter in into your playing.

• What are filler phrases?

  So what exactly are these filler pieces? Well, if you look at a theka of Tintal of 16 beats for instance:

  X

  2

  0

  3

  Dha

  Dhin

  Dhin

  Dha

  Dha

  Dhin

  Dhin

  Dha

  Dha

  Tin

  Tin

  Ta

  Ta

  Dhin

  Dhin

  Dha

  Notice that if we were to play this very fast there would be hardly any gaps between each beat. By this I mean at least a tempo of four beats or more per second. So in every second count Dha Dhin Dhin Dha and so on. Therefore there would be very few fillers required if any. But if you were to slow this down and now play one beat per second or slower, now you have extra space that is a candidate for filling. Let's look at this aspect of the tala:

  X
  Dha	Dhin	Dhin	Dha
  2
  Dha	Dhin	Dhin	Dha
  0
  Dha	Tin	Tin	Ta
  3
  Ta	Dhin	Dhin	Dha

  Now you can see how much space has opened up. Here is where we put the fillers in for instance:

  X 2 3 4	2 2 3 4	3 2 3 4	4 2 3 4
  Dha - Ka Ka	Dhin 2 3 Ka	Dhin - Dhin -	Dha Ge Ti Ta

• Are they tala specific?

  Some tabla filler phrsases are tala (taal) specific and some are not. The flow of the rhythm being played coupled with the tempo it's being played at will determine which fillers will sound good. The above example is for the Tintal rhythm cycle. In Jhaptal, for instance, the beat count is 2 - 3 - 2 - 3. Therefore the filler phrases will keep this split in mind and hence try to fill but not break this mold.

  X		2			0		3
  Dhin	Na	Dhin	Dhin	Na	Tin	Na	Dhin	Dhin	Na

• What makes good tabla filler phrases?

  This is what separates the good from the bad and the ugly!

  Phrasing around a theka's rhythm is filled with possibilities. But you need to be mindful of the Image of the theka and the beauty of the melody when deciding what to fill the rhythmic spaces with. In the world of rhythm, the theka is a constant. If we select dadra or keharwa or tintal, they will all be the same theka. In the world of melody though, there is no constant. Melodies are based on a constant theka grooves but they can have infinite varieties. Each melody will have a new hook and rhythmic playfulness that will require a different approach to how you fill it with variations.

  The melody is the activator that should trigger your mind to have an "AHA" moment. Everything that makes the melody great should trigger in you a mental excitement about what is necessary for you to fill this melodic composition perfectly.

  To do this job well:

  1. It is good to brush up on your bol collection. Practice your tabla bols starting with all the 1 (Ta, Ti, Ta, Ka, Tu and so on), 2 (TiTa, KrDha, TuNe, KaTa and so on), 3 (KaTrKa, DhaGeNe, TuNeTaa and so on), and 4 (TiTaKiTa, GaDiGiNe, TaTaKaTa and so on) beat combinations. This will be your portfolio to build the filler phrases out of.
  2. Learn the different kinds of bol combos that are available to you. Some examples of these are: Uthaan, Murki, Dupali, Tipali, Chaupali, tihai, peshkar and so on.
  3. Read the melody well to understand its starting and ending points. Ask yourself: What can I add that will make this melody sound better? What form of improv should I add that will not disturb the melodic image? What size of bol fits well in the fill?
  4. Will my fills disturb the lead artist? Be mindful of this. Many tabla players tend to overfill and invite scorn from the lead artist.
  5. Be mindful of not rushing or slowing down when you add fills.

  6. Is there a standard to what phrases are inserted where?

     The primary criterion is whether your contributions enhance the melody or cause it to become sluggish or disjointed. Rhythmic accompaniment involves recognizing that your tabla performance is not the focal point; your role is to support the lead melody in achieving its optimal sound. This principle applies universally to those who accompany artists. In a classical music ensemble, the number of musicians is typically limited. Usually, one observes a lead instrument accompanied by a drummer. In the case of vocal performances, the ensemble may be larger, featuring lead vocals alongside instruments such as tabla or mridangam, tanpura, harmonium, or sarangi, and possibly others like the sitar. Given this limited instrumentation, the tabla player must often strive to fill the space effectively without being overly assertive to the point of becoming disruptive. Fills should complement the melody. The most effective accompaniment weaves rhythmic phrases that align with the melodic ones. Since each melody possesses its own distinct character, the drums must adapt their standard theka to reflect this uniqueness, even though the drummer adheres to the same theka bols across various melodies. Therefore, the goal is to allow the melody to inspire the rhythmic phrases.

     Raga Piloo Gat in Tintal by Ashwin Batish

     Short Uthaan Example
     

     Dha	Dhin	Dhin	Dha |	Dha	Dhin	Dhin	Dha |	Dha	Tin	Tin	Ta |	Ta	Dhin	Dhin	Dha
     Ga	-	Ga	Re |	Ga	Ma	ni	Pa |	ga	-	ga	Re |	Sa	Re	.Ni	Sa
     Dha	TT	TT	Dha |	-	TT	KT	TK |	Dha	TT	KT	TK |	Ta	TT	KT	TK

  7. Secrets to becomming a fill expert!

     The most exquisite performances occur when the tabla player demonstrates the patience to listen attentively and develops an understanding of the musical essence embedded in the melody and raga. Many tabla players are accomplished musicians in their own right, which enhances their sensitivity towards the artists they accompany. Mastery of ragas and compositions across various thekas and talas is essential for becoming an exceptional tabla accompanist. For solo tabla performers, the experience of accompanying others fosters a highly melodic playing technique. This skill is challenging to master unless one is fortunate enough to collaborate with accomplished instrumentalists and vocalists. Therefore, it is crucial to study ragas, learn gats, and explore vocal styles. Once you become captivated by the practical aspects of music, you will naturally excel and develop the sensitivity that elevates your performance to the highest level.