The pakhavaj is a cylindrical, two-headed drum that comes from the Indian subcontinent, the kendang of Maritime Southeast Asia, and other South Asian double-headed drums. Earlier versions of the instrument were made using clay.

It is the most common percussion instrument used in the dhrupad style of Indian classical music. It is also sometimes used to provide rhythm for other types of music and dance, such as kathak, odissi, and marathi. The pakhavaj has a deep, rich sound with many layers of tone. The sides of the drum are made from animal skin, often goat skin. When playing, the musician places the drum horizontally in front of them while sitting on the floor with legs crossed. A cushion may be used under the narrower, higher-pitched side to raise it slightly. A right-handed player places the larger, lower-pitched skin on the left side and the smaller, higher-pitched skin on the right. The lower-pitched side is often covered with fresh wheat dough, which helps create a strong, deep sound.

The pakhavaj is tuned similarly to the tabla, using wooden wedges placed under the tightness straps. The higher-pitched side can produce at least two tones that are one semitone apart. For example, striking the center of the higher-pitched side (called "din") might produce the note C, while striking near the edge (called "ta") might produce the note C#. Fine adjustments to the tuning are made using a woven ring called the "gajra," which is attached to the skin. Only the lower-pitched side uses wheat dough to enhance its deep sound. Although polymer-based materials can be used as substitutes, they are not commonly chosen.

Etymology

The word पखावज – pakhāvaja or pakhavāja comes from the Prakrit language. In Sanskrit, the word is पक्षवाद्य – pakṣavādya, which combines the words पक्ष – pakṣa ("a side") and वाद्य – vādya ("a musical instrument"). Similar words exist in other languages, such as Telugu pakkavāyidyam (పక్క వాయిద్యం), Tamil pakkavadyam, and Kannada pakkavādya (ಪಕ್ಕವಾದ್ಯ). It is believed that in the 14th century, skilled mridang players tested different materials for making the mridang. They eventually began using wood for the main part of the instrument instead of the original clay. This change led to the creation of a new name, pakhavaj, while the older name, mridang, continued to be used.

Technique

The pakhavaj, like the tabla, uses a series of memory words called "bol" to teach its rhythms, known as "tala." The way the pakhavaj is played differs from the tabla in several ways. For example, the player strikes the bass side (left side for right-handed players) with the whole palm, not the fingertips as with the tabla. The treble side (right side for right-handed players) is played using different finger positions to create various "bol" sounds. Traditionally, the whole hand is used to produce a clear, pure sound called "chanti."

In traditional pakhavaj styles, students learn different strokes that make specific sounds. These are remembered and practiced with syllables, called mnemonics. This memorization is known as "paḍhanta" in Hindi. While pakhavaj and tabla mnemonics share some similarities, their meanings can differ depending on the "gharana" (school of music), such as the Nana Panse or Nathdwara gharanas.

In Indian classical music, percussionists are taught to recite rhythms using these mnemonics. Unlike the Konnakol notation in Carnatic music, these recitations are not performed as standalone pieces. In Hindustani music, they are shared with the audience in a conversational style before playing the composition. Since percussionists often improvise rhythms, knowing mnemonics helps them coordinate with other musicians, like singers or instrumentalists. Mnemonics are also designed to help players speak and play quickly, especially during fast rhythms called "drut laya," and may have alternate names for easier pronunciation.

Here are some common mnemonics:

• Din – Made by gently hitting the center of the treble face with all fingers except the thumb, then quickly removing the hand to let the sound resonate. It is also called "dhum."
• Ta – Made by waving the hand upward and brushing the top of the treble face with the part of the hand below the little finger. It often ends a rhythm cycle.
• Ghe – Made by hitting the bass side with all fingers except the thumb closed.
• Dha – A combination of "ghe" and "ta," played with both hands at the same time.
• TiTa – Made on the treble face in two parts. Both hits are muted by keeping the hand on the face. The first uses the middle, ring, and little fingers, and the second uses just the index finger. It is sometimes called "kiTa."
• Ka – A muted hit on the bass face with all fingers.
• N – A muted sound on the treble face using the middle and ring fingers.
• Na – Similar to the tabla's "na," made by placing the ring finger on the edge of the treble face's black center and using the index finger to strike the edge.
• Tin – Similar to "na," but the index finger hits the "maidan" (area between the outer ring and black center).
• Kata – A combination of "ka" and "ta" played in sequence, not together.
• Gan – A combination of "ka" and "n" played in sequence.
• Gadi – A combination of "ka" and "din" played in sequence.

Some mnemonics have alternate names for faster speaking, such as "ghe" also being called "thun" and "tiTa" also being called "kiTa."

A basic exercise for beginners is learning a "theka" (a rhythmic pattern) within a specific "tala" (rhythmic cycle). For example, the simple "theka" for "chautal" (a 12-beat cycle) is:

|dha dha | din ta | tiTa dha | din ta |
|tiTa kata | gadi gan |

Learners then practice "rela" (fast-paced compositions). In Hindustani music, the basic "theka" remains as a steady pulse while faster versions called "vistāra" (elaborations) are played. For example, a "rela" for the above "chautal" might be:

|dhā dina dhā kiṭa takiṭa takākiṭa | taka taka dhuma kiṭa takiṭa takākiṭa | taka taka dhuma kiṭa taka taka dhuma kiṭa | taka taka dhuma kiṭa takiṭa takākiṭa |
|taka dhuma kiṭa taka gadi gana dhā kiṭa | taka gadi gana dhā kiṭa taka gadi gana |

Players often begin with the "theka," playing one sound per beat, and then perform faster or slower versions. In Indian classical music, changing the speed is acceptable, as the music focuses more on rhythm than harmony, unlike Western music.

Other common "talas" include "Dhamaar" (14 beats, with a pattern of 3-2-2-3-4 or 3-2-2-3-2-2) and "Sultala" (10 beats, with a pattern of 2-2-2-2-2). Other less common "talas" include "Therwa" (7 beats, 3-2-2), "Matta" (9 beats, 4-2-3 or 4-1-4), "Teentala" (16 beats, 4-4-4-4), and "Pancham Sawari" (15 beats, 3-4-4-4).

Notable traditions

The main surviving styles of pakhawaj include Nana Panse, Nathdwara, and Kudai Singh. However, at least 11 different styles have been identified in recent history, including Jaawli, Mathura, Punjab, Kudau Singh, Nana Saheb Panse, Naathdwara, Bishnupur, Gurav Parampara, Mangalvedhekar, Gwalior, Raigarh, Gujarat, Jaipur, and Jodhpur.