Kathak definitions:

1. Tatkar: The sound produced from tapping of feet is called Tatkar. The bol of Tatkar is Ta Thai
Thai Tat, Aa Thai Thai Tat
2. Aamad: Aamad means an “entrance”. This piece is danced in the beginning of the performance.
Kathak ke bolon ka beginning or entrance
3. Do gun: Double speed. Two beats in place of one
4. Chaugun: Fourth speed. Four beats in place of one
5. Laya: Rhythm or tempo
Vilambit laya: The slow tempo
Madhyam laya: The moderate or medium tempo
Dhrut laya: The fast tempo
6. Lasya: This type of dance is feminine (Shrungar Rasa) in its character which has its origin from
goddess Parvati. It is performed using delicate and graceful movements
7. Tandava: This variety of dance consists of energetic, forceful and masculine movements (Veer
Rasa) which has its origin from God Shiva

In Kathak, abhinaya is in the form of expressive gestures set to music that usually outline the plot of a
well-known story. The gestures and facial expressions convey the ras (sentiment, emotional taste)
and bhaav (mood) of the underlying story.
8. Navras: Shaanth (quiet), Veer (hero), Raudram (anger), Adbhut (surprise), Vibhastya (disgust),
Karuna (sympathy), Hasya (comedy), Bhayanak (fear), Shringar (beauty)
9. Bhaav: Four types of bhaav – Sthayi, Sanchaari, Vibhava and Anubhava
10. Abhinay: Four types of abinay – Vachik (using speech to express), Aangik (using various body
parts to express), Sathvik (using emotions to express – tears, change in voice, perspiration,
shock, feeling faint etc.), Aaharya (using props to express)
11. Tripali: Kisi bhi ek bol ko teen alag alag speed mein bol kar sampayaana Tripali kehlaata hain
E.g., Tat Tat, Ta Thai Thai Tat, Aa Thai Thai Tat
Tat Tat Thai, Ta Thai
Tat Tat Thai, Ta Thai
Tat Tat Thai, Ta Thai
Same bol, three different speeds
12. Gatnikas: Gat – speed; Nikas – nikhalna
Ek gati se apne dance ko aage bhadaana (nikhaala) gatnikas kehthe hain
Isko adhiktar dhurt laya (fast tempo) mein perform kiya jaata hain
Ismein nrityakar kisi ek hastak ya phir koi mudra banakar uska vakhyaan karke, use nachtha ya
dharshaatha hain – use gatnikas kethe hain
13. Tihai: Concluding movements or a dance phrase repeated three times
Pairo se nikhaale jaane wale bolon ko teen baar bol kar samparaathe hain – use tihai kehte hain
(e.g., Tat Tat Thai, Tat Tat Thai, Tat Tat Thai)
14. Chakradar: Naache jaane wale bolon ko teen baar naach kar samparaathe hain
15. Tukda: Nritya mein naache jaane wale chote bolon ke samooh
16. Chakradar tukda: Teen baar naache jaane wale chote bolon ke samooh (e.g., Tat Tat Thai, Tat
Tat Thai, Tat Tat Thai)
17. Toda: Nritya mein naache jaane wale bade bolon ke samooh
18. Chakradar toda: Teen baar naache jaane wale bade bolon ke samooh
19. Paran: Nritya thatha vaadhan (instrument) ke bolon ko milakar banaaye gaye bandish
Roudra, bhayanak, adbhuth (everything except Shringar ras) - Paran
20. Chakradar paran: Teen baar nritya thatha vaadhan (instrument) ke bolon ko milakar banaaye
gaye bandish
21. Padan: Kathak mein nritya ke shabdon ko bolna ya padna padan kehlatha hain – jisse nrityakaar
bol kar rasik jano tak pahunchaatha hain aur uspe kriya kartha hain
22. Thumri: Thumri is a common style of light classical music. The text is romantic and devotional in
nature, and usually revolves around a girl's love for Krishna
Krishna Sakha Mil Gaye Gwalan Sang
Hirat Firat Ghar Dekh Lio
Phir Gwaal ke Maathe Chad Makhan
Utaar Liyeo Dadhi Khaye Gayo
Tadki Matki Patki Jhatki
Aur Doodh ko peeke, Bikher Dio
Pakad Lio Radha Ne Jab Tab Gwaal Bal Sab Bhag Gayo
Dubkaaye Gayo
Dekh Narayan Taal Bajake Nachan Laagi
Kit Thak Theiya Theiya Thei x 3 times
23. Kavith: Nritya mein kisi Kavitha pe apne hastako se kisi drishya ko dhikaana kavith kehlaata hain
Shringar ras mein kavith hota hain
E.g., Radha Krishna ki kavith
Sheesh mukhut bansi much bhaaje
Chapal nayan kundal jhalke
Mor mukhut peethambar sohe
Mand mand Madhuri muskhe
Madhav 1 Madhav 2 Madhav 3 Madhav 4 Madhav 5 Madhav 6 Madhav 7 Madhav 8 Madhav 9

24. Yati: Yati is used to describe the shape of a rhythmic pattern in a musical composition

i) Samayathi: When the arrangement of syllables is even in the beginning, middle, and end of the
composition

ii) Vishama Yathi: When the syllables are not arranged in any specific manner or sequence

iii) Mridanga Yathi: The tempo is equal at the extremes and is reduced in the middle
E.g., Dhrut Laya in the beginning and at the end with Madhyam Laya in between
Dhrut Laya in the beginning and at the end with Vilambit Laya in between
Madhyam Laya in the beginning and at the end with Vilambit Laya in between

iv) Veda Madhyama or Pipeelika Yathi: "Pipeelika" means "ant". This is the exact opposite of
Mridanga Yati. The tempo is slower at the beginning and end and increases in the middle.
E.g., Vilambit Laya in the beginning and at the end with Dhrut in between
Madhyam Laya in the beginning and at the end with Dhrut in between
Vilambit Laya in the beginning and at the end with Madhyam in between

v) Srothovaka Yathi: When the composition begins with Vilambit Laya, is followed by Madhya
Laya and concludes with Dhrut Laya. The syllables, in other words, are arranged in ascending
order

vi) Gopucha Yathi: The meaning of "Gopucchha" is "a cow's tail". It is when the syllables are
arranged in descending order. This Yati is the exact opposite of Strotawaha Yati. The composition
begins with Dhrut Laya, is followed by Madhya Laya, and concludes with Vilambit Laya

25. Greeva Bheda: The Greeva Bhedas are the classifications of the movements of the neck
Sundari: Here the neck is moved from side to side
Tirashchina: Here neck is moved in a V-shape
Prarivartita: Here the neck is moved in a Semicircle or moonlike shape
Prakampita: Here the neck is moved forward and back
26. Nayika: The Ashta-Nayika is a collective name for eight types of nayikas or heroines. The eight
nayikas represent eight different states (avastha) in relationship to her hero or nayaka

# Name Meaning

1 Vasakasajja Nayika One who is dressed up and is waiting for her husband to
return from a long journey
वासकसज्जा नायिका
Jo apne pati ke liye shingaar karke baiti hain

2 Virahotkanthita Nayika One who is pining for her husband, who, due to his
preoccupation, fails to return home
यवरहोत्कंयिता नायिका
Jisko pata hain uska pati kahaan hain par yeh nahi patha
ke kab aayega – isliye bahut dukhi hain

3 Svadhinabhartruka Nayika One who is loved by her husband and controls him
स्वाधीनभततृका नायिका Jiska pati uske vash mein hain aur uske saath hain

4 Kalahantarita Nayika One who is separated from her husband due to a fight
कलहां तररता नायिका

5 Khandita Nayika One who is enraged with her husband

खंयिता नायिका

6 Vipralabdha Nayika One who waited for her husband the whole night
यवप्रलब्धा नायिका Jo shingaar karke apne pati se milne jaati hain par use
wahan na paakar dukhi ho jaati hain

7 Proshitabhartruka Nayika One whose husband has gone away from her for some
business and does not return on the appointed day. She is
प्रोयितभततृका नायिका
depicted seated mourning refusing to be consoled
Jiska pati us se door hain aur usko patha nahi who kahaan
hain – isliye bahut dukhi hain

8 Abhisarika Nayika One who is going to meet her lover

अयभसाररका नायिका Jo shingaar karke apne pati se milne ja rahi hain

27. Tatkar ke Palte: Tatkar ke bolon ko vistaar karna palte kehthe hain
1 2 Ta Thai Thai Tat; 1 2 Aa Thai Thai Tat (x4)
1 2 3 Ta Thai Thai Tat; 1 Aa Thai Thai Tat (x4)
1 2 3 4 Ta Thai Thai Tat; 1 2 3 4 Aa Thai Thai Tat; Ta Thai Thai Tat; Aa Thai Thai Tat (x4)
1 2 3 4 5 Ta Thai Thai Tat; 1 2 3 4 5 Aa Thai Thai Tat; Ta Thai Thai Tat; 1 2 3 4 5 Aa Thai Thai
Tat; 1 2 3 4 5 Ta Thai Thai Tat; Aa Thai Thai Tat (x4)
1 2 3 4 5 6 Ta Thai Thai Tat; 1 2 3 4 Aa Thai Thai Tat; Ta Thai Thai Tat; 1 2 3 4 5 6 Aa Thai Thai
Tat; 1 2 3 4 Ta Thai Thai Tat; Aa Thai Thai Tat (x4)
1 2 3 4 5 6 7 Ta Thai Thai Tat; 1 2 3 Aa Thai Thai Tat; Ta Thai Thai Tat; 1 2 3 4 5 6 7 Aa Thai
Thai Tat; 1 2 3 Ta Thai Thai Tat; Aa Thai Thai Tat (x4)
1 2 3 4 5 6 7 8 Ta Thai Thai Tat; 1 2 Aa Thai Thai Tat; Ta Thai Thai Tat; 1 2 3 4 5 6 7 8 Aa Thai
Thai Tat; 1 2 Ta Thai Thai Tat; Aa Thai Thai Tat (x4)
1 2 3 4 5 6 7 8 9 Ta Thai Thai Tat; 1 Aa Thai Thai Tat; Ta Thai Thai Tat; 1 2 3 4 5 6 7 8 9 Aa Thai
Thai Tat; 1 Ta Thai Thai Tat; Aa Thai Thai Tat (x4)
28. Movement ke palte doosre character se pehle use karthe hain – Krishna movements then patle
then Radha movements

29. Kathak Hasta Mudra:

There are various hand gestures in kathak as “Kathak Hasta Mudra”, which are divided in two
types as samyukt (double handed) and asamyukt (single handed)
Samyukt:
Asamyukt:

30. Ek taal, teen taal, sool taal

Ek taal Teen taal Sool taal
Beats (Matra) 12 16 10
Division (Vibhaag) 6 divisions of 2 4 divisions of 4 5 divisions of 2
Taali 1, 5, 9, 11 1, 5, 13 1, 5, 7
Khaali 3, 7 9 3, 9
Dhin Dhin
Dha Dha
Dhage Tirikita Dha Dhin Dhin Dha
Dhin Taa
Tu Na Dha Dhin Dhin Dha
Bol Kit Dha
Kat Taa Dha Tin Tin Ta
Tit Kat
Dhage Tirikita Ta Dhin Dhin Dha
Gadi Gan
Dhin Na
Ek Taal
Ek Gun Do Gun Chau Gun
1 (clap) 2 1 (clap) 2 1 (clap) 2
Dhin Dhin Dhin Dhin Dhage Tirikita Dhin Dhin Dhage Tirikita Tu Na Kat Taa
3 (o) 4 3 (o) 4 3 (o) 4
Dhage Tirikita Tu Na Kat Taa Dhage Tirikita Dhin Na Dhin Dhin Dhage Tirikita
5 (clap) 6 5 (clap) 6 5 (clap) 6
Tu Na Dhage Tirikita Dhin Na Tu Na Kat Taa Dhage Tirikita Dhin Na
7 (o) 8 7 (o) 8 7 (o) 8
Kat Taa Dhin Dhin Dhage Tirikita Dhin Dhin Dhage Tirikita Tu Na Kat Taa
9 (clap) 10 9 (clap) 10 9 (clap) 10
Dhage Tirikita Tu Na Kat Taa Dhage Tirikita Dhin Na Dhin Dhin Dhage Tirikita
11 (clap) 12 11 (clap) 12 11 (clap) 12
Dhin Na Dhage Tirikita Dhin Na Tu Na Kat Taa Dhage Tirikita Dhin Na
1 (clap) 1 (clap) 1 (clap)
Dhin Dhin Dhin

Sool Taal
Ek Gun Do Gun Chau Gun
1 (clap) 2 1 (clap) 2 1 (clap) 2
Dha Dha Dha Dha Dhin Taa Dha Dha Dhin Taa Kit Dha Tit Kat
3 (o) 4 3 (o) 4 3 (o) 4
Dhin Taa Kit Dha Tit Kat Gadi Gan Dha Dha Dhin Taa Kit Dha
5 (clap) 6 5 (clap) 6 5 (clap) 6
Kit Dha Gadi Gan Dha Dha Tit Kat Gadi Gan Dha Dha Dhin Taa
7 (clap) 8 7 (clap) 8 7 (clap) 8
Tit Kat Dhin Taa Kit Dha Kit Dha Tit Kat Gadi Gan Dha Dha
9 (o) 10 9 (o) 10 9 (o) 10
Gadi Gan Tit Kat Gadi Gan Dhin Taa Kit Dha Tit Kat Gadi Gan
1 (clap) 1 (clap) 1 (clap)
Dha Dha Dha

Teen Taal
Ek Gun Do Gun
1 (clap) 2 3 4 1 (clap) 2 3 4
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Dhin Dhin Dha
5 (clap) 6 7 8 5 (clap) 6 7 8
Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
9 (o) 10 11 12 9 (o) 10 11 12
Dha Tin Tin Ta Dha Dhin Dhin Dha Dha Dhin Dhin Dha
13 (clap) 14 15 16 13 (clap) 14 15 16
Ta Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
1 (clap) 1 (clap)
Dha Dha

Chau Gun
1 (clap) 2 3 4
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
5 (clap) 6 7 8
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
9 (o) 10 11 12
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
13 (clap) 14 15 16
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
1 (clap)
Dha
Dhamaar Taal

Ek Gun Do Gun
1 (clap) 2 3 4 5 1 (clap) 2 3 4 5
Ka Dhi Ta Dhi Ta Ka Dhi Ta Dhi Ta Dha Aa Ga Ti Ta
6 (clap) 7 6 (clap) 7
Dha Aa Ti Ta Taa Aa
8 (o) 9 10 8 (o) 9 10
Ga Ti Ta Ka Dhi Ta Dhi Ta Dha
11 (clap) 12 13 14 11 (clap) 12 13 14
Ti Ta Taa Aa Aa Ga Ti Ta Ti Ta Taa Aa
1 (clap) 1 (clap)
Ka Ka

Chau Gun
1 (clap) 2 3 4 5
Ka Dhi Ta Dhi Ta Dha Aa Ga Ti Ta Ti Ta Taa Aa Ka Dhi Ta Dhi Ta Dha
6 (clap) 7
Aa Ga Ti Ta Ti Ta Taa Aa
8 (o) 9 10
Ka Dhi Ta Dhi Ta Dha Aa Ga Ti Ta Ti Ta
11 (clap) 12 13 14
Taa Aa Ka Dhi Ta Dhi Ta Dha Aa Ga Ti Ta Ti Ta Taa Aa
1 (clap)
Ka
Describe the history of Kathak dance in detail.

Kathak is an Indian classical dance form and the word ‘Kathak’ is derived from the Sanskrit word
'Katha' - which means story. The dance was given shape by the wanderers who narrated
mythological stories to worship Gods and entertain people.
Kathak was also known as "Kushilav" because it is believed that Maharishi Valmiki narrated stories
to Luv and Kush through music and dance. Luv and Kush then narrated the story of Ramayana
through music and dance in the court of Lord Ram. After Luv and Kush, anyone who adopted the
tradition of narrating Ramayan through music and gestures was given the name Kushilavas and
Kathakars, in the memory of Luv and Kush.
Kathak dates back to the BC era where sculptures of Kathak dancers were engraved in ancient
temples. In the bhakti era, Kathak dancers used to go from one village to another telling stories of
Lord Krishna and his eternal love Radha. The pundits in the temples invited these Kathakars to
come and narrate stories of Gods and Goddesses inside temple.
In the Mughal era, these Kathakars were invited into the Mughal Courts to perform. The dance
moved from being religious to entertainment. Kathak dance during this era was also influenced by
the dancers and musicians from Persia. During this time many technical aspects were included in
Kathak.
In the British era, Kathak along with many other classical dance forms was forbidden. A few Kathak
artists then made effort to keep this ancient dance form from dying out and started teaching their
family members because openly they could not share their art with anybody - this was how the
concept of Gharanas started.
Each teacher or guru developed their style forming the “Gharanas”. These gharanas are named
after the cities where the history of Kathak dance traditions evolved - Lucknow, Jaipur, Banaras and
Raigarh.

31. Describe the categories or gharanas of Kathak.

Gharanas can be understood as the different branches or schools of Kathak. While the beauty of
Kathak remains the same in all the Gharanas, each one of them specializes in certain techniques
and aspects of the dance. There are four gharanas - which are named after the cities where the
history of Kathak dance traditions evolved - Lucknow, Jaipur, Banaras and Raigarh.
Lucknow Gharana:
The Lucknow gharana was developed in the courts of the Nawab of Awad in Lucknow, Uttar
Pradesh which was founded by Pandit Ishwari Prasad Ji. Influence of Shringar ras is evident in
Lucknow gharana as it focuses more on grace, elegance, and expressions with delicate
movements.
Jaipur Gharana:
The Jaipur gharana was developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan
and was founded by Bhanu ji Maharaj, who received the education of Tandava Nritya (Shiv Tandav)
from a saint. Hence, the influence of Veer ras is evident in Jaipur gharana with its warrior-like
movements. Jaipur gharana specializes in more technical aspects of dance, such as complex and
powerful footwork and multiple spins.
Banaras Gharana:
The Banaras gharana was developed by Pandit Janki Prasad Ji. It is characterized by the exclusive
use of the Dance syllables or natwari bols (syllables). It is on the banks of the river Ganga had the
spirituality aspect which was developed. In Banaras gharana, special attention is given to the lyrics
and intricate footwork - Sattvik bhav and tatkaar.
Raigarh Gharana:
The Raigarh gharana was established by the Maharaja Chakradhar Singh in the princely state of
Raigarh in Chhattisgarh in the early 20th century. The Maharaja invited many luminaries of Kathak
from different gharanas. The confluence of different styles and artists created a unique environment
for the development of new Kathak and tabla compositions drawn from various backgrounds.
32. How is Jaipur gharana different from Banaras and Lucknow gharanas and its
specialities?
Unlike Lucknow gharana which focuses on expression, Jaipur gharana emphasizes powerful
footwork. Unlike Banaras gharana, Jaipur gharana uses numerous swift spins throughout the
performance.

33. Describe the essence of Jaipur gharana (including costumes)

The essence of Kathak in the Jaipur gharana is strength and precision. It was born from Shiv
Tandav and soon the successors learned lasya and nurtured it with soft moves. Today, we can find
Jaipur gharana dancers wearing a wide cut dazzling lehenga with a gorgeous blouse on the top.
The dancers in Jaipur gharana accessorize their look with a dupatta falling from their shoulders
along with a waist belt. Their necks are covered with a long and a short necklace and their
foreheads are adorned with a matching maang teeka. With bangles on their wrists and ghungroos
on their ankles, they start dancing in Vilambit laya and eventually dazzle us with their powerful and
swift yet smooth moves.

34. Biographies of famous dancers from Jaipur and Lucknow gharanas

Rajendra Kumar Gangani – Jaipur Gharana:
Rajendra Kumar Gangani was born in traditional family of Jaipur Gharana. He started his Kathak
training from his father Pandit Kundan Lal Gangani ji at the age of four in Jodhpur. He has evolved
a distinct and personal style by integrating the purity of tradition with the creativeness of a
contemporary approach. His dance forms depict the love of Radha Krishna, different Lilaas of Lord
Vishnu.
Having performed extensively within the country, his performances have also taken him all over
Europe, Middle East, Russia and the United States.
As a Kathak Guru at the Kathak Kendra, New Delhi, he has made significant contribution in
grooming young dancers. He was awarded the Rajasthan Sangeet Natak Akademi Award in 1991
and the Central Sangeet Natak Akademi in 2002 from the former Hon’ble President Dr. APJ Abdul
Kalam.
Pandit Birju Maharaj – Lucknow Gharana:
Birju Maharaj was born into the house of renowned Kathak proponent, Jagannath Maharaj of
Lucknow Gharana. He started his Kathak training from his father Achhan Maharaj at a very young
age in Lucknow.
Birju Maharaj started his career as a teacher when he was just 13 years old. Later, Birju Maharaj
started his own dance school – Kalashram. In Kalashram, the students are trained in the field of
Kathak, and other associated disciplines like vocal and instrumental music, yoga, painting, Sanskrit,
dramatics, stagecraft etc.
Pandit Birju Maharaj is also a noted film personality who composed famous dance sequences in
Devdas, Umrao Jaan and Bajirao Mastani.
Birju Maharaj is a torchbearer of Kathak. Apart from his immense contributions to the dance form,
his effort to make Kathak a well-known dance form all over the world is exceptional. He has
performed in various countries making people all over the world take a note of this magnificent
dance form. Thanks to his dance school ‘Kalashram’, his contribution towards Kathak will resonate
throughout the globe for decades to come.
Pandit Birju Maharaj has won several honors and awards including the coveted Padma Vibhushan
(1986).
Smt. Kumudini Lakhia – Lucknow Gharana:
Smt. Kumudini Lakhia is an Indian award winning Kathak dancer. She was born in 1930 in
Ahmedabad in Gujarat. She started her Kathak training with Sohanlal from the Bikaner Gharana at
age seven. This was followed by Ashique Hussain of Benaras Gharana and Sunder Prasad and
Radhelal Misra ji of the Jaipur gharana and then from Shambhu Maharaj.
Kumudini Lakhia ji started her career in dancing with Ram Gopal and travelled to the west. By
retelling the mythological tales of India in a dance style that was free from ‘reference to Western
choreography’, they brought enlightenment to the Indian dance among the people living abroad.
After a distinguished profession as a Kathak dancer, Kumudini Lakhia established the KADAMB
Centre for Dance in Ahmedabad, India in 1964. It was at Kadamb that she focused her energies
and vision on the development of the technique, vocabulary, and repertoire of the Kathak dance.
Starting with a small group of students whom she trained in a rigorous routine, she started doing
choreography in 1973. Her endeavour was to transform the presentation of Kathak dance with
innovative ways for contemporary expression.
Lakhia’s performing company Kadamb has toured extensively around the world where it has
received critical acclaim. She continues to lecture on ‘creativity and performance in dance’ at
universities in India, USA, and countries in Europe. She worked as a choreographer in the Hindi film
Umrao Jaan in 1981.
Kumudini Lakhia ji was awarded Padma Shri by the Government of India in 1987 and Padma
Bhushan in 2010. She received Sangeet Natak Akademi award and Kalidas Samman award for the
year 2002-2003.
Toda:

1. Tat Tat
Ta Thai Thai Tat, Aa Thai Thai Tat
Thig Dha Dhig Dhig x3)
Thaa Thai, Thig Dha Dhig Dhig Thai (x2)
Thaa Thai

2. Tat Tat
Ta Thai Thai Tat, Aa Thai Thai Tat
Tat Tat Thai, Thaa Thai, Thaa Thai, Thaa Thai
Tat Tat Thai, Tat Tat Thai, Tat Tat Thai (slow)
Thath Thai, Thath Thai, Thath Thai (fast) (x3)
Dha Dha Dha

3. Tat Tat Thai, Thig Dha Dhig Dhig Thai

Tat Tat, Thig Dha Tat
Thig Dha Dhig Dhig Thai (x3)
Thaa Thai, Thig Dha Dhig Dhig Thai (x2)
Thaa Thai

Chakradhar Toda:
4. Tat Tat
Ta Thai Thai Tat, Aa Thai Thai Tat
Tat Tat Thai, Thaa Thai (x3)
Tat Tat Thai, Tat Tat Thai, Tat Tat Thai

5. Ta Thai, Tat Tat Thai

Aa Thai, Tat Tat Thai
Thaa Thai, Thaa Thai (x3)
Ta Thai Thai Tat, Aa Thai Thai Tat
Tat Tat Thai, Tat Tat Thai, Tat Tat Thai

Aamath:
6. Ta Thai, Tat Tat Thai
Aa Thai, Tat Tat Thai
Thai, Thaa Thai, Thaa Thai, Thai Thai
Tat Tat Tha (x3)
Thath Thai, Thath Thai, Thath Thai

7. Ta Thai, Tat Tat Thai

Aa Thai, Tat Tat Thai
Thai, Thaa Thai, Thaa Thai, Thai Thai
Tat Tat Tha (x2)

Thai, Thaa Thai, Thaa Thai, Thai Thai

Tat Tat 1 (slow), Tat Tat 2 (slow), Tat Tat 3 (slow)

Tat Tat 4 (slow), Tat Tat 5 (slow), Tat Tat 6 (slow)
Tat Tat 7 (fast), Tat Tat 8 (fast), Tat Tat 9 (fast)

8. Ta Thai, Tat Tat Thai

Aa Thai, Tat Tat Thai

Thai, Thaa Thai, Thaa Thai, Thai Thai (x3)

Tat Tat Tha, Aa
 Tat Tat 1 (slow), Tat Tat 2 (slow), Tat Tat 3 (slow)
Tat Tat 4 (fast), Tat Tat 5 (fast), Tat Tat 6 (fast)
Tat Tat 7 (fast), Tat Tat 8 (fast), Tat Tat 9 (fast)

9. Ta Thai, Tat Tat Thai

Aa Thai, Tat Tat Thai
Thai, Thaa Thai, Thaa Thai, Thai Thai
Tat Tat Tha, Aa
(x3)

Tat Tat 1 (fast), Tat Tat 2 (fast), Tat Tat 3 (fast)

Tat Tat 4 (fast), Tat Tat 5 (fast), Tat Tat 6 (fast)
Tat Tat 7 (fast), Tat Tat 8 (fast), Tat Tat 9 (fast)

Paran:
10. Dheth Dheth Dha
Kridha Kit Dha
Dhage Thit Dha
Kridha Kit Dha
Thakit Dha Kath Dha (x3)

11. Dheth Dheth Dha

Kridha Kit Dha
Dhage Thit Dha
Kridha Kit Dha
Dhage Thit Kridha Kit, Dha Dha Dha (x3)

12. Dheth Dheth Dha

Kridha Kit Dha
Dhage Thit Dha
Kridha Kit Dha
Katit Dha Kath Dha, Dha Dha Dha (x3)

Chakradhar Paran:
13. Dheth Dheth Dha
Kridha Kit Dha
Dhage Thit Dha
Kridha Kit Dha (x3)
Thakit Dha Thakit Dha Thakit Dha, Kath Dha

14. Dheth Dheth Dha

Kridha Kit Dha
Dhage Thit Dha
Kridha Kit Dha
Dhage Thit Kridha Kit, Katit Dha Kath Dha
(x3)
Dhage Thit Kridha Kit, Katit Dha Kath Dha
Dhage Thit Kridha Kit, Katit Dha Kath Dha

Farmaishi Chakradhar Paran:

15. Dheth Dheth Dha (slow)
Dheth Dheth Dha (fast)
Kridha Kit Dha (slow)
Kridha Kit Dha (fast)
(x3)
Dhaage Thit (slow)
Dhaage Thit Kridha Kit, Katit Dha Kath Dha (fast) x3
 Teen Taal
1 (clap) 2 3 4
Dheth Dheth Dha Dheth Dheth
5 (clap) 6 7 8
Dha Kridha Kit Dha
9 (o) 10 11 12
Kridha Kit Dha Dhaage Thit
13 (clap) 14 15 16
Dhaage Thit Kridha Kit Katit Dha Kath
1 (clap) 2 3 4
Dha Dhaage Thit Kridha Kit Katit
5 (clap) 6 7 8
Dha Kath Dha Dhaage Thit Kridha Kit
9 (o) 10 11 12
Katit Dha Kath Dha Dheth
13 (clap) 14 15 16
Dheth Dha Dheth Dheth Dha
1 (clap) 2 3 4
Kridha Kit Dha Kridha Kit
5 (clap) 6 7 8
Dha Dhaage Thit Dhaage Thit
9 (o) 10 11 12
Kridha Kit Katit Dha Kath Dha
13 (clap) 14 15 16
Dhaage Thit Kridha Kit Katit Dha Kath
1 (clap) 2 3 4
Dha Dhaage Thit Kridha Kit Katit
5 (clap) 6 7 8
Dha Kath Dha Dheth Dheth
9 (o) 10 11 12
Dha Dheth Dheth Dha Kridha
13 (clap) 14 15 16
Kit Dha Kridha Kit Dha
1 (clap) 2 3 4
Dhaage Thit Dhaage Thit Kridha Kit
5 (clap) 6 7 8
Katit Dha Kath Dha Dhaage Thit
9 (o) 10 11 12
Kridha Kit Katit Dha Kath Dha
13 (clap) 14 15 16
Dhaage Thit Kridha Kit Katit Dha Kath
1 (clap)
Dha

Paran:

16. Kat Tit, Ge Ge Tit

Kata Gadhi Ghan
Nage Tit, Ge Ge Tit
Kata Gadhi Ghan
12345

Dohre bolon ke paran (Mirror paran)

17. Kat Tit, Kat Tit
Ge Ge Tit, Ge Ge Tit
Kata Gadhi Ghan, Kata Gadhi Ghan
Nage Tit, Nage Tit
 Ge Ge Tit, Ge Ge Tit
Kata Gadhi Ghan, Kata Gadhi Ghan
11 22 33 44 55

Guru vandana
18. Guru Brahma Guru Vishnu
Guru Devo Maheshwara
Guru Sakshath Para Brahma
Thasmai Shree Guruve Namaha

Kavith
19. Sheesh Mukhut Bansi Mukh Bhaaje
Chapal Nayan Kundal Jhalke
Mor Mukhut Peethambar Sohe
Mand Mand Madhuri Muskhe
Madhav 1 Madhav 2 Madhav 3 Madhav 4 Madhav 5 Madhav 6 Madhav 7 Madhav 8 Madhav 9

20. Bajath Taal Mridang Murali Dhun

Ta Dhalang Dhum Kit Kata Gadhi Ghan
Ta Na Na Na Sugandh
Mann Bhay Umang
Nirath Karath Krishna Krishna Krishna
1 2 Krishna Krishna Krishna, 1 2 Krishna Krishna Krishna

Bol:
21. Tak Dhum Kit Tak
Tirkit Tak
Dha Ti Dhage Na
Dha Ti Dha

Gau puccha yati

22. 1 2 3 4 5 6 7 8 9
12345678
1234567 (x3)
123456
12345
555

Chau Gun
1 (clap) 2 3 4
1234 5678 9–12 3456
5 (clap) 6 7 8
7812 3456 7–12 3456
9 (o) 10 11 12
1234 5–5- 5 1234
13 (clap) 14 15 16
5678 9–12 3456 7812
1 (clap) 2 3 4
3456 7–12 3456 1234
5 (clap) 6 7 8
5–5- 5 1234 5678
9 (o) 10 11 12
9–12 3456 7812 3456
13 (clap) 14 15 16
7–12 3456 1234 5–5-
1 (clap)
5
Parmelu or Primalu (kathak aur nature ke bolon ko milaakar jo bandhish banthi hain use Parmelu
kehthe hain)
23. Tat Tat Ta Thrag
Thun Thun
Jhijhikita Tho
Thadang Tak Thun Thun (x3)
Thig Dha Dhig Dhig Thai

Tak Thun Thun

Thig Dha Dhig Dhig Thai

Tak Thun Thun

Thig Dha Dhig Dhig Thai

Paran
24. Gin Nak Gin Nak
Dhum Kit Dha
Kridha Tit Dha
Kat Tit Ge Ge Tit
Dhum Kit Kridha Tit

Katit Dha Kath Dha (x3)

25. Dheth Dheth Thrag Dheth
Dhit Dhit Kridha Tit
Dhaage Na Dha Gadi Gan
Kat Titkit Tak
Thage Tit Kat
Thage Tit Kat

Dhaage Na Na Na Na Na Na
Ge Ge Na Na Na Na Na Na
Dhaage Na Na Na Na
Ge Ge Na Na Na Na
Dhaage Na Na
Ge Ge Na na

Kat Thig Dha Thig Thig Tha Thai (x3)

Tripalle
26. Dhaan Dhaan Dhagath Dhagath
Dhaage Tit Kat
Kata Gadi Gan
Nage Tit Kat
Gin Tadaan
Dhaan Dhaan Dha

Dhamaar Taal - Tatkar bol

27. Ta Thai - Thai -
Tat -
Aa Thai -
Thai - Tat –
Dhamaar Taal - Toda
28. Tat Tat
Ta Thai Thai Tat, Aa Thai Thai Tat

Tat Tat Thai, Thaa Thai

Tat Tat Thai, Thaa Thai
Tat Tat Thai, Thaa Thai

Tat Tat Thai, Tat Tat Thai, Tat Tat Thai

Thaa Thai Thaa Thai (x3)

Dhamaar Taal – Chakradhar Toda

29. Tat Tat
Ta Thai Thai Tat, Aa Thai Thai Tat
(x3)
Tat Tat, Thai (eyaa) Thai (eyaa) Thai
Tat Tat, Thai (eyaa) Thai (eyaa) Thai
Tat Tat, Thai (eyaa) Thai (eyaa) Thai

Dhamaar Taal - Paran

30. Dheth Ta
Thrag Dheth Ta
Dhum Kit Tak Dheth Ta
Dhaage Dhrige Nage
Tit Kata Gadi Gan
Dha Dheth Ta

Thrag Dheth Ta

Dhum Kit Tak

Tit Kata Gadi Gan (x3)
Dha Dheth Ta

Chau Gun
1 (clap) 2 3 4 5
Dheth Ta Thrag Dheth Ta Dhum Kit Tak Dheth Ta - Dhaage Dhrige Nage Tit Kata Gadi Gan Dha Dheth
6 (clap) 7
Ta - - Thrag Dheth Ta - Dhum
8 (o) 9 10
Kit Tak Tit Kata Gadi Dan Dha Dheth Ta Dhum Kit Tak
11 (clap) 12 13 14
Tit Kata Gadi Gan Dha Dheth Ta Dhum Kit Tak Tit Kata Gadi Gan Dha Dheth
1 (clap)
Ta

Dhamaar Taal – Kamaali Chakradhar Toda

31. Tat Tat
Ta Thai Thai Tat, Aa Thai Thai Tat (x2)
Tat Tat, Thai Ta
Tat Tat
Ta Thai Thai Tat, Aa Thai Thai Tat (x3)

Tat Tat 1, Tat Tat 2, Tat Tat 3

Tat Tat 4, Tat Tat 5, Tat Tat 6
Tat Tat 7, Tat Tat 8, Tat Tat 9
 Dhamaar Taal
1 (clap) 2 3 4 5
Tat Tat Ta Thai Thai Tat Aa Thai Thai Tat Tat Tat Thai Ta
6 (clap) 7
Tat Tat Ta Thai Thai Tat
8 (o) 9 10
Aa Thai Thai Tat Tat Tat Thai Ta
11 (clap) 12 13 14
Tat Tat Ta Thai Thai Tat Aa Thai Thai Tat Tat Tat
1 (clap) 2 3 4 5
1 Tat Tat 2 Tat Tat 3
6 (clap) 7
Tat Tat 4
8 (o) 9 10
Tat Tat 5 Tat Tat
11 (clap) 12 13 14
6 Tat Tat 7 Tat Tat
1 (clap) 2 3 4 5
8 Tat Tat 9
6 (clap) 7
Tat Tat
8 (o) 9 10
Ta Thai Thai Tat Aa Thai Thai Tat Tat Tat
11 (clap) 12 13 14
Thai Ta Tat Tat Ta Thai Thai Tat Aa Thai Thai Tat
1 (clap) 2 3 4 5
Tat Tat Thai Ta Tat Tat Ta Thai Thai Tat Aa Thai Thai Tat
6 (clap) 7
Tat Tat 1
8 (o) 9 10
Tat Tat 2 Tat Tat
11 (clap) 12 13 14
3 Tat Tat 4 Tat Tat
1 (clap) 2 3 4 5
5 Tat Tat 6 Tat Tat 7
6 (clap) 7
Tat Tat 8
8 (o) 9 10
Tat Tat 9
11 (clap) 12 13 14
Tat Tat Ta Thai Thai Tat
1 (clap) 2 3 4 5
Aa Thai Thai Tat Tat Tat Thai Ta Tat Tat Ta Thai Thai Tat
6 (clap) 7
Aa Thai Thai Tat Tat Tat
8 (o) 9 10
Thai Ta Tat Tat Ta Thai Thai Tat
11 (clap) 12 13 14
Aa Thai Thai Tat Tat Tat 1 Tat Tat
1 (clap) 2 3 4 5
2 Tat Tat 3 Tat Tat 4
6 (clap) 7
Tat Tat 5
8 (o) 9 10
Tat Tat 6 Tat Tat
11 (clap) 12 13 14
7 Tat Tat 8 Tat Tat
1 (clap)
9