Percussion pedagogy is diverse by nature. Most university-level percussion programs embrace a wide range of musical idioms and instrumental specializations, including symphonic percussion, solo literature, chamber music, marching percussion, and jazz and popular music. By finding common ground in the percussion traditions of the world, it is possible to build a curriculum that develops the key competencies of traditional Western percussion while also opening students’ worldview to other traditions without diluting either system. In this clinic, Justin Alexander (Virginia Commonwealth University) and Shawn Mativetsky (McGill University) will explain and demonstrate how the tabla drumming tradition of North India can be applied to general rhythmic pedagogy. Tabla drumming makes use of a number of compositional forms and rhythmic devices that will help to develop students’ sense of time, technique, phrasing, memorization skills, motivic analysis, and even improvisation, not to mention developing an understanding and appreciation of North Indian classical music. We will demonstrate the application of taal (rhythmic cycles), tihai (rhythmic cadences), kaida (a theme and variation form), and other forms, through tabla compositions that have been adapted for rudimental snare drum in Mativetsky’s recent book, Rudimentaal. For example, the kaida-palta theme and variation structure provides students with opportunities to explore sticking combinations and accents, à la Stick Control and Accents and Rebounds, while simultaneously developing an understanding of motivic development and improvisation in the Hindustani tradition, all while learning solo material useful for a recital, jury, or other performance. Through this integrated approach, students master the foundations of rudimental drumming while developing creativity, cultivating intercultural appreciation, and exploring the repertoire, improvisation structures, and rhythmic language of Hindustani Classical Music.