The pakhavaj players place the instrument horizontally in front of themselves as they sit on the floor with legs crossed.

It is only on the bass skin where a freshly made batter (or dough) of (wheat) flour and water is applied to provide enhance the low-pitched sound.

It is said that during the 14th century, the great mridangists experimented with the materials used in mridang construction and finally started using wood for the main body as opposed to the original clay.

Most remarkably, the artist hits the bass face – which would be the left side of pakhavaj for a right-handed person – with the whole palm instead of with the finger tips as is done with a tabla.

[4] Indian classical music tradition encourages the percussionist to verbally recite the rhythm as expressed in these mnemonics.

In the Hindustani classical traditions, the recitals are instead presented in a conversational manner to the audience before demonstrating the composition on the instrument.

A basic exercise that a beginner is expected to learn is playing a theka (pattern) in a particular tala or rhythmic cycle.

In the Hindustani system, the basic theka e.g. for chowtal above remains as a pulse while elaborations or vistāra (विस्तार) continue with higher tempos.

Nana Panse, Nathdwara and Kudai Singh may be the primary surviving gharanas of pakhawaj but there are at least 11 styles that can be traced in recent history – Jaawli, Mathura, Punjab, Kudau Singh, Nana Saheb Panse, Naathdwara, Bishnupur, Gurav parampara, Mangalvedhekar, Gwalior, Raigarh, Gujarat, Jaipur and Jodhpur.