Tabla & Pakhawaj Sangeet Bhaskar Final Syllabus In English
Tabla & Pakhawaj
Exam Marks
Total-400
Theory-200
First Paper-100
Second Paper-1oo
Practical-125
Stage performance -75
Theory
First Paper
(1).Origin of Taal, its Praan vitals and description of the importance of Taal in music.
(2). Description of the types of laykari and playing styles used in classical music, simple music and instrumental music.
(3). Comparative study of playing style of different Gharanas (Tabla or Pakhawaj).
(4).Complete knowledge of Western Swarlipi paddhati (Staff Notation) and their utility in Indian music.
(5). Complete study of swar and taal.
(6). Development of playing style of Tabla or Pakhawaj.
(7). Knowledge about traditional and Aadhunik style of Tabla or Pakhawaj playing style.
(8). Music school and music education.
(9). Importance of Guru Shishya Parampara.
(10). Place of Tabla and Pakhawaj in Avandha instruments.
(11). Basic elements in music, their interpretation, importance and light on their usefulness.
(12). Ras theory, interpretation, relation of taal and lay with ras.
(13). Knowledge of sound generation, sound generation in your instrument, its elements.
(14). Difference between independent playing and accompaniment. Rules related to knowledge and presentation of their different phases.
(15). A look at the current perspective of Indian music. Information about various main musical institutions and their activities.
(16). Complete information about the development sequence of Southern (Karnataka) taal paddhati.
(17). Subtle, fundamental discussion on various musical
Second Paper
(1). Practice writing the following Taals in difficult laykari.
(2). Practice of writing Notation (Tabla Pakhawaj) in all the Taals prescribed in the syllabus from first to seventh year – Kumbh, Lakshmi, Vishnu and Farodast.
(3). Practice of writing Chakradar Paran, Kamali Paran, Farmaishi Paran, Dupalli, Tipalli etc.
(4). Practice of writing Tihai of any Matra in all the taal of the syllabus.
(5).Description of the condition of tabla in Punjab after 15th century.
(6). Ability to write essay on subjects related to music.
(7). Study of the characteristics of the playing styles developed under different traditions (Gharanas) and knowledge of their traditional fundamental restrictions and the name of the original founder and the conductor of that tradition at present.
(8). To compose on the basis of the given bol and write them lipi baddh.
(9).Comparative study of information about Indian and Western types and taal.
(10).Study of all types of singing-playing music and critical information used with them.
(11). To lipi baddh the creations of curricular taals.
(12). Chhand-Lay made laykari analysis on the basis of jati.
(13). Detailed information about prominent persons of different traditions (Gharanas) and their musical contribution.
(14). Knowledge of development of percussion instruments described in pracheen , Madhya and aadhunik kalin granth.
Practical
(1). Simple knowledge about playing the following taals- Kumbh, Vishnu, Lakshmi, Jagdamba, Brahma, Shikhar.
(2).Special skill in playing in Navahakka Kamali, Farmaishi the following taals and practice of playing different types of parnas like – Tritaal, Jhaptaal, Jhumra, Deepchandi, Dhamar, Sooltaal, Ektaal, Chartaal, Adachartaal, Gajjhampa and Punjabi Theka.
(3). Vadan, Ashtamangal, Dhamar, Sooltaal with brief elaboration in the following taals.
(4) Proficiency of accompaniment in Pashto and Qawwali Taal.
(5).Ability to accompany with particular proficiency in vocals and instruments.
(6).Knowledge of performance of various Gharanas’ playing styles.
(7).Exercise of recitation all the taals prescribed in the syllabus in different laykari by showing the tali on the hand khali.
(8). All round performance of Teentaal.
Stage performance
(1).30 minutes (in any rhythm of 6th and 7th year)
Note – The syllabus of previous years will be combined.
