The tablas are very difficult. I love playing them, but they are tough, and unlike any other hand percussion I have ever been exposed to. The taals (aka talas) are the easiest part, and they aren't exactly a walk in the park; however, I feel like my obsession with odd time signatures and polyrhythms has aided me in that respect.

Also helpful are the bols, which are syllables (and groups of syllables) sung while playing. Each bol corresponds to a different kind of tabla stroke, the point being that they are supposed to sound the same. For instance, the "na" stroke involves snapping the index finger down on the outer ring of the tabla (the right-hand drum), emitting a higher pitched and non-gutteral sound, almost nasal-like. Hence, whenever I play "na," I say "na," attempting to make my stroke (in B) sound something like the syllables. Sometimes singing along seems counterproductive - especially while I am learning something new; the combinations of various bols are tough to say without focusing on playing technique at all. Try saying, "Dha te te | Dha te te | Dha dha te te | Dha ge tin na ke na" ten times fast. It's a real tongue-twister. Then take into account that every "Dha" means a left hand "ge" stroke on the baya (big drum) and a right hand "na" stroke on the tabla - along with the fact that both sounds are difficult to produce properly without total and utter care and attention to perfect technique - and you have a real challenge.

That being said, I feel like my playing is indeed improving. The above example is actually the first half of a well known kaida, or composition meant to be played along with a taal. That particular kaida is 32 beats (each syllable corresponding to one beat), so it fits nicely into the tintaal, a 16-beat Hindustani taal typical for beginners - it's easier to grasp the familiar 16-beat feel. Playing the 32-beat kaida twice as fast, they line up perfectly. And although my technique is lagging, I feel comfortable saying the syllables and understanding the rhythms.

Of course, it gets trickier as things add up. Any kaida can have limitless variations. For instance, take a variation of the above kaida: "Dha te te | Dha te te | Dha te te | Dha te te | Dha dha te te | Dha te te | Dha te te | Dha dha te te | Dha ge dhin na ge na"

I am nowhere near mastering even these basic and introductory kaidas, but I am slowly progressing and feeling better about myself with every practice session.