Background	percussion
Classification	Indian Percussion instrument, goatskin heads with syahi
Range	Bolt tuned or rope tuned with dowels and hammer
Related	Pakhavaj, Mridangam, Khol }}

The tabla (or tabl, tabla) (, , , , , , , , , ) is a popular Indian percussion instrument (of the membranophone family) used in Hindustani classical music and in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The term 'tabla is derived from an Arabic word, tabl, which simply means "drum."

Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (bol). The heel of the hand is used to apply pressure or in a sliding motion on the larger drum so that the pitch is changed during the sound's decay.

Nomenclature and construction

The smaller drum, played with the dominant hand, is sometimes called dayan (lit. "right"; a.k.a. dāhina, siddha, chattū) but is correctly called the "tabla." It is made from a conical piece of mostly teak and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic, dominant or sub-dominant of the soloist's key and thus complements the melody. The tuning range is limited although different dāyāñ-s are produced in different sizes, each with a different range. Cylindrical wood blocks, known as ghatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning is achieved while striking vertically on the braided portion of the head using a small hammer.

The larger drum, played with the other hand, is called bāyāñ (lit. "left"; a.k.a. dagga, duggī, dhāmā). The bāyāñ has a much deeper bass tone, much like its distant cousin, the kettle drum. The bāyāñ may be made of any of a number of materials. Brass is the most common, copper is more expensive, but generally held to be the best, while aluminum and steel are often found in inexpensive models. One sometimes finds that wood is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal.

Both drum shells are covered with a head (or puri) constructed from goat or cow skin. An outer ring of skin (keenar) is overlaid on the main skin and serves to suppress some of the natural overtones. These two skins are bound together with a complex woven braid that gives the assembly enough strength to be tensioned on the shell. The head is affixed to the drum shell with a single cow or camel hide strap laced between the braid of the head assembly and another ring (made from the same strap material) placed on the bottom of the drum.

The head of each drum has a central area called the Syahi (lit. "ink"; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch and variety of tonal possibilities unique to this instrument. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument. For stability while playing, each drum is positioned on a toroidal bundle called chutta or guddi, consisting of plant fiber or another malleable material wrapped in cloth.

Gharānā — tabla tradition

The term gharānā is used to specify a lineage of teaching and repertoire in Indian classical music. Most performers and scholars recognize two styles of tabla gharana: Dilli Baj and Purbi Baj. Dilli (or Delhi) baj comes from the style that developed in Delhi, and Purbi (meaning eastern) baj developed in the area east of Delhi. Delhi Baj is also known as Chati baj (Chati is a part of Tabla from where special tone can be produced).

Musicians then recognize six gharānās – schools or traditions – of tabla. These traditions appeared or evolved in presumably the following order: # Delhi gharānā # Lucknow gharānā # Ajrara gharānā, later followed by # Farukhabad gharānā # Benares gharānā # Punjab gharānā

Other tabla performers have identified further derivations of the above traditions, but these are subjective claims not universally recognized. Some traditions indeed have sub-lineages and sub-styles that meet the criteria to warrant a separate gharānā name, but such socio-musical identities have not taken hold in the public discourse of Hindustani art music, such as the Qasur lineage of tabla players of the Punjab region.

Each gharānā is traditionally set apart from the others by unique aspects of the compositional and playing styles of its exponents. For instance, some gharānās have different tabla positioning and bol techniques. In the days of court patronage the preservation of these distinctions was important in order to maintain the prestige of the sponsoring court. Gharānā secrets were closely guarded and often only passed along family lines. Being born into or marrying into a lineage holding family was often the only way to gain access to this knowledge.

Today many of these gharānā distinctions have been blurred as information has been more freely shared and newer generations of players have learned and combined aspects from multiple gharānās to form their own styles. There is much debate as to whether the concept of gharānā even still applies to modern players. Some think the era of gharānā has effectively come to an end as the unique aspects of each gharānā have been mostly lost through the mixing of styles and the socio-economic difficulties of maintaining lineage purity through rigorous training.

Nonetheless the greatness of each gharānā can still be observed through study of its traditional material and, when accessible, recordings of its great players. The current generation of traditionally trained masters still hold vast amounts of traditional compositional knowledge and expertise.

This body of compositional knowledge and the intricate theoretical basis which informs it is still actively being transmitted from teacher to student all over the world. In addition to the instrument itself, the term tabla is often used in reference to this knowledge and the process of its transmission.

Jori / Jodi and Dhama Style Tabla

Next to the contemporary common style of tabla, there exists older styles in which the bayan (called Dhama or Dhamma) is often made out of wood. Instead of having a thin dry syahi, this style of tabla uses a wet wheat dough on the bass drum's skin. The dough is applied shortly before playing. It produces a more vivid and shattering bass sound. These types of (Jori) tabla are used by Qawwali ensembles (notably Dildar Hussain), Sikh, Pakhawaj inspired Tabla Gharanas (Punjabi Dhrupad), Gurbani Kirtan and Afghan trad. folk music. A reminder, that this style of tabla was used all over India not long ago is that many modern tabla tuning (brass) hammers still have a dough (removal) spatula on the reverse end. These hammers are produced from older hammer molds. However, many modern (steel) hammers do not have this spatula. The swift sliding bass sound (Giss or Gissa), commonly associated with modern style tabla sets can also be produced on wet dough dhamma style bass drums. This is best demonstrated by Punjabi qawwali drummers.This same style of wet weighting masala is also used on the Pakhawajs bass side. The pakhawaj is considered the drum from which the tabla was derived.

See also

Hindustani classical music

Tala

Bol

Further reading

The Major Traditions of North Indian Tabla Drumming: A Survey Presentation Based on Performances by India's Leading Artists, by Robert S. Gottlieb. Pub. Musikverlag E. Katzbichler, 1977. ISBN 387397300.

The tabla of Lucknow: a cultural analysis of a musical tradition, by James Kippen. Cambridge University Press, 1988. ISBN 0521335280.

Solo Tabla Drumming of North India: Text & commentary, by Robert S. Gottlieb, Motilal Banarsidass Publ., 1993. ISBN 8120810937.

Fundamentals of Tabla, (Volume 1) by David R. Courtney. Pub. Sur Sangeet Services, 1995. ISBN 096344476X.

Advanced Theory of Tabla, (Volume 2) by David R. Courtney. Pub. Sur Sangeet Services, 2000. ISBN 0963444794.

Manufacture and Repair of Tabla, (Volume 3) by David R. Courtney. Pub. Sur Sangeet Services, 2001. ISBN 1893644022.

Focus on the Kaidas of Tabla, (Volume 4) by David R. Courtney. Pub. Sur Sangeet Services, 2002. ISBN 1893644030.

Theory and practice of tabla, by Sadanand Naimpalli. Popular Prakashan, 2005. ISBN 8179911497.

References

Category:Hand drums Category:Pitched percussion Category:Bangladeshi music Category:Hindustani musical instruments Category:Indian musical instruments Category:Pakistani musical instruments Category:Bangladeshi musical instruments

Playername	Srinivas Venkataraghavan
Country	India
Fullname	Srinivasaraghavan Venkataraghavan
Nickname	Venkat
Living	true
Dayofbirth	21
Monthofbirth	4
Yearofbirth	1945
Placeofbirth	Madras
Countryofbirth	British India
Batting	Right-hand
Bowling	Right-arm off break
Role	Bowler, Umpire
International	true
Testdebutdate	27 February
Testdebutyear	1965
Testdebutagainst	New Zealand
Testcap	110
Lasttestdate	24 September
Lasttestyear	1983
Lasttestagainst	Pakistan
Odidebutdate	13 July
Odidebutyear	1974
Odidebutagainst	England
Odicap	9
Lastodidate	7 April
Lastodiyear	1983
Lastodiagainst	West Indies
Club1	Tamil Nadu
Year1	1970-1985
Club2	Derbyshire
Year2	1973-1975
Club3	Madras
Year3	1963-1970
Umpire	true
Testsumpired	73
Umptestdebutyr	1993
Umptestlastyr	2004
Odisumpired	52
Umpodidebutyr	1993
Umpodilastyr	2003
Columns	4
Deliveries	balls
Column1	Tests
Matches1	57
Runs1	748
Bat avg1	11.68
100s/50s1	0/2
Top score1	64
Deliveries1	14877
Wickets1	156
Bowl avg1	36.11
Fivefor1	3
Tenfor1	1
Best bowling1	8/72
Catches/stumpings1	44/–
Column2	ODI
Matches2	15
Runs2	54
Bat avg2	10.80
100s/50s2	–/–
Top score2	26*
Deliveries2	868
Wickets2	5
Bowl avg2	108.40
Fivefor2	–
Tenfor2	n/a
Best bowling2	2/34
Catches/stumpings2	4/–
Column3	FC
Matches3	341
Runs3	6617
Bat avg3	17.73
100s/50s3	1/24
Top score3	137
Deliveries3	83548
Wickets3	1390
Bowl avg3	24.14
Fivefor3	85
Tenfor3	21
Best bowling3	9/93
Catches/stumpings3	316/–
Column4	LA
Matches4	71
Runs4	346
Bat avg4	11.16
100s/50s4	0/0
Top score4	26*
Deliveries4	3985
Wickets4	64
Bowl avg4	35.34
Fivefor4	0
Tenfor4	n/a
Best bowling4	4/31
Catches/stumpings4	29/–
Date	14 August
Year	2007
Source	http://www.cricketarchive.com/ Cricket Archive

Srinivasaraghavan Venkataraghavan (informally Venkat, born 21 April 1945) is a former Indian cricketer. He played for Derbyshire in English county cricket from 1973 to 1975. He played Test cricket for the Indian cricket team, and later became an umpire on the elite International Cricket Council Test panel. His Test career was one of the longest for any Indian player.

Playing career

An off spin bowler, he was one of the famed Indian quartet of spin bowlers in the 1970s (the others being Bhagwat Chandrasekhar, Bishen Bedi and Erapalli Prasanna). He was also a strong close-in fielder and a useful tail-end bat. Venkat came on to the Test scene at the age of 20 when he was selected to play against the touring New Zealand side. By the end of the series he had emerged as a world-class spinner, taking 12 wickets in the Delhi test that led India to victory. He was the vice-captain of the Indian team that toured the West Indies and England in 1970-71. India won both series. Venkat played an important role, claiming five wickets in the Trinidad Test and 13 wickets in the three Tests in England. He captained India in both the 1975 and 1979 World Cup competitions. He also led India in a four-Test series against England in 1979. In domestic cricket, he led South Zone and Tamil Nadu for over a decade.

Venkat retired from first-class cricket in 1985. He became a cricket administrator and managed the Indian Test side. He was honoured with the Padma Shri in 2003. He is a mechanical engineer by profession.

Umpiring career

Venkat made his international umpiring debut in the One Day International between India and England at Jaipur on January 18, 1993. He made his Test umpiring debut in the same month, with the match between India and England at Kolkata. He gained a place on the inaugural International Umpire Panel when it was formed in 1994, and was selected by the International Cricket Council on a regular basis to umpire in Test matches away from home as the neutral umpire. In 2002 the ICC created an Elite Panel of the top eight umpires, who were employed on a full time basis and would cover all Test match officiating. Venkat was duly included in the inaugural Elite Panel, of which he remained a member until his retirement in January 2004. That he remained among the top echelon of international umpires for the entirety of his career is testament to his umpiring ability.

The highlights of his umpiring career include six Ashes Tests and appointments to three World Cups in 1996, 1999 and 2003. In both the 1996 and 1999 tournaments he was appointed to stand in a semi-final, and was the third umpire of the 1999 World Cup final between Australia and Pakistan at Lord's. In total he officiated on-field in 73 Test matches and 52 One-day Internationals during his career.

Umpiring Statistics

Notes

External links

Category:Indian cricket umpires Category:India One Day International cricketers Category:India Test cricketers Category:Indian Test captains Category:Indian cricket captains Category:Indian cricketers Category:Derbyshire cricketers Category:South Zone cricketers Category:Recipients of the Padma Shri Category:Tamil sportspeople Category:World Cup cricketers of India Category:Cricketers at the 1975 Cricket World Cup Category:Cricketers at the 1979 Cricket World Cup Category:1945 births Category:Living people Category:Recipients of the Arjuna Award

Name	Wisin & Yandel
Background	group_or_band
Born	December 19, 1978 (Wisin)January 14, 1977 (Yandel)
Origin	Cayey, Puerto Rico
Genre	Reggaeton, R&B;, Electropop, Latin pop
Years active	1998 – presente
Label	WY, Machete
Url	WisinYandelPR.com
Current members	Juan Luis Morera Luna (Wisin)Llandel Veguilla Malavé Salazar (Yandel)

Wisin & Yandel are a Puerto Rican reggaeton duo, consisting of Llandel Veguilla Malavé Salazar (Yandel) and Juan Luis Morera Luna (Wisin). They started their career in 2000 and have been together since, winning several awards during that time.

Their biggest hits are "Rakata", "Llamé Pa' Verte (Bailando Sexy)", "Pam Pam", "Sexy Movimiento", "Pegao", "Síguelo", "Abusadora", and "Gracias a Tí". Wisin & Yandel have collaborated with internationally known artists such as R. Kelly on "Burn It Up", Paris Hilton on the reggaeton remix to her debut single "Stars Are Blind", Ja Rule on "Rakata (Remix)", Lenny Kravitz on "Breathe" (a promotional song for Absolut Vodka), Mexican Pop group RBD on "Lento (Remix)", compatriots La Secta AllStar on "Llora Mi Corazón", Fat Joe on "Jangueo", Nelly Furtado on "Sexy Movimiento (Remix)", 50 Cent on "Mujeres In The Club" and "Así Soy" along with G-Unit, Akon on "All Up 2 You" along with Aventura and "Ella Me Llama (Remix)", Enrique Iglésias on "Lloro Por Ti (Remix)" and "Gracias a Tí (Remix)", Gloria Estefan on "No Llores (Remix)", T-Pain on "Imagínate", "Te Siento" and in a remix for Reverse Cowgirl.

Biography

Yandel was born on January 16, 1977 & Wisin was born on December 19, 1978.Wisin married his wife on July 26, 2008, in a ceremony that took place in a restaurant of Cayey, Puerto Rico. Yandel who was the ceremony's best man, is also the godfather of Wisin's daughter.

Artistic careers

On November 7, 2007 the duo published . The album was received positively by the Puerto Rican media, with mainstream newspaper Primera Hora awarding it a score of 4 out of 5. The publication focused their review on the fusion of styles found in the album, claiming that the production continued the "musical evolution" found in its predecessors. Wisin & Yandel participated in the closing ceremonies of the 2008 Viña del Mar Festival. On June 2, 2008, Wisin and Yandel began a tour to promote Wisin vs. Yandel: Los Extraterrestres, Otra Dimensión, visiting several radio stations in Puerto Rico. The duo made a guest appearance in an album titled "Caribbean Connection" released on June 24, 2008. The production included participation by other Latin American artists including Daddy Yankee, Don Omar and Hector "El Father" along Jamaican musicians including Inner Circle, Bounty Killer, Elephant Man and Wayne Wonder. Wisin & Yandel took part in the 2008 edition of New York City's Puerto Rican Day Parade, organized on June 8, 2008. Wisin & Yandel won four awards in the Premios Juventud 2008 ceremony. On July 19, 2008, the duo made a presentation before a sold-out crowd in Venezuela. The duet were selected to perform in "KQ Live Concert" on September 27, 2008, organized by KQ 105 FM, the event included several renowned artists from Puerto Rico and other Latin American locations. On August 12, 2008, the duo received a recognition by Cayey's mayor,Rolando Ortiz Velázquez. In the activity, they were named "Ambassadors from Cayey to the world", in a patronal celebration that was dedicated to the duo. On April 24, 2009, Wisin & Yandel received the Latin Rhythm Album Of The Year, Duo Or Group Latin Billboard Music Award for Los Extraterresres. Besides this recognition, the duo also received nominations for Ahora Es and Síguelo in the Tropical Airplay Song Of The Year, Duo Or Group and Latin Rhythm Airplay Song Of The Year, Duo Or Group categories. On October 15, 2009, Wisin & Yandel won the Premio MTV Latinoamérica for "Artist of the Year" and "Video of the Year".

WY Records

WY Records is a Puerto Rican record label founded by the popular reggaeton duo Wisin & Yandel. WY Records is a record label started by Wisin & Yandel in 2004, which features several artists from the reggaeton genre. The main production center is in San Juan, Puerto Rico.

Artistic appearances

Wisin & Yandel have collaborated with many artists throughout The United States music industry. Throughout genres such as hip hop, pop, latin pop, and R&B;, with artists such as David Bisbal, Gloria Estefan, Bone Thugs-N-Harmony, Nelly Furtado, Fat Joe, Eve, R. Kelly, G-Unit, Enrique Iglesias, T-Pain, Akon, 50 cent, Aventura and Sean Kingston.

Discography

;Studio albums

2000: Los Reyes del Nuevo Milenio

2001: De Nuevos a Viejos

2002: De Otra Manera

2003: Mi Vida... My Life

2005: Pa'l Mundo

2007:

2009: La Revolución

2011:

See also

List of famous Puerto Ricans

References

External links

Official Site

Second Official Site

Wisin & Yandel at MTV

Wisin & Yandel at MTV Tr3́s

Wisin & Yandel at YouTube

Wisin & Yandel at Reggaetonline

Category:Reggaeton musicians Category:Duos Category:Reggaeton duos Category:Puerto Rican male singers Category:Puerto Rican singers Category:Puerto Rican reggaeton artists Category:Latin Grammy Award winners