Tabla & Pakhawaj Sangeet Bhaskar Part 1 Syllabus In English Pracheen Kala Kendra

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Tabla & Pakhawaj Sangeet Bhaskar Part 1 Syllabus In English

Tabla & Pakhawaj

Exam Marks



First Paper-100

Second Paper-1oo


Stage performance -75


First Paper

(1). Detailed study of all the technical terms prescribed from first to fifth year.

(2). Detailed and comparative study of North and South Indian taal paddhati and practice of writing Hindustani taals in Karnataka taal paddhati. Detailed study of western taal paddhati.

(3). Basis of Indian musical instrument classification, its scientificity. Historical perspective on musical instrument classification from Pracheen times to the present.

(4). Place of taal and lay in western music.

(5). Classification of instruments in Indian music.

(6).Biography of famous tabla players and their contributions in the field of art.

(7).Study of pracheen concepts related to Taal, their interpretation given by Bharat and Sharangdev.

(8). Critical study of the principle of Taal composition and all concepts related to Taal and their utility and importance in Taal Shastra.

(9). Use, importance and utility of margi and Deshi taal in southern (Karnataka)taal paddhati.

(10). Historical background of Indian lok taal instruments, introduction and use of instruments.

(11). Development of western writing paddhati Specifically staff notation.

(12). Historical background of developed traditions (Gharanas) of Tabla and Pakhawaj, specialty of different traditions and their contemporary importance in present perspective.

(13). Original thoughts on various contemporary musical topics.

(14). Place of non-musical instruments in western music.

(15).Origin of different Gharanas of Tabla or Parvaghaj and Mridang: Development and characteristics.

Second Paper

(1). History of the origin of Tabla or Parakhawaj.

(2) The construction system of tabla and parakhawaj and the names of its different parts.

(3) Bhatkhande and Vishnu Digambar paddhati and practice of writing Theka of taals prescribed in staff notation and their various layakri Ada, Viyad  and Kuwad and Tukda, Paran, Peshkar etc.

(4). Ability to write new Tukda, Paran and Kaida in prescribed taals.

(5). The specialty of auxiliary Naad produced from tabla and pakhawaj.

(6).History of different gharanas of Tabla or Pakhwaj and comparison of their playing style.

(7). Comparative study of playing style of Tabla and Pakhawaj.

(8). Original thinking on burning topics related to music.

(9).Knowledge of different parts of Tabla or Pakhawaj and different bol produced by striking on both sides.

(10).Parts of Taal, their use and importance in Taal Shastra.

(11).Taal Rachna, its rules and principles, the basis of Navin Taal Rachna Lok.

(12). Detailed study of laykari and laykari / its relation on jati basis.

(13). Background of Pracheen and Madhyakalin historical perspective of Indian music.

(14).Tihai, its type Kayda and practice of writing its types in prescribed taals.

(15). Types of different singing styles, study and use of prescribed taal for them.

(16). Explanation and classification of Sampadi, Visham Padi taals, importance.

(17). Rhythmicizing various compositions (bandishes) under curricular taal . Ability to lipibaddh various laykari.

(18). History of Indian music and development of instruments used in Pracheen, Madhyakalin and Aadhunik kaal.


(1). Ability to play the following Taals proficiently – Teevra, Rudra, Rupak, Ektal, Sooltaal, Dhamar, Adachartal, Brahma, Farodast and Jhaptaal. Tilwara Jat, Deepchandi, Gajjhampa.

(2).Practice of playing simple Paran, Tukda, Peshkar and Kaida – Matt taal, Madan (12 Matras) and Shikhar (17 Matras).

(3). Practice of playing Lehra in Adachar Taal and Pancham Swari (15 Matras) Taal.

(4) Ability to accompany Khayal, Dhrupad, Dhamar, Thumri, Bhajan, Kathak dance and Instrumental music.

(5).Preparing and playing new Tukda, Paran, Kaida, Peshkar, Mukhda, Mohra and Tihai in all taals prescribed in the syllabus.

(6) For Pakhwaj – Teevra, Sooltaal, Dhamar, Gajjhampa (in these talas Pakhwaj style of playing material with all the characteristics).

(7) Special playing of chartaal.

(8).General Studies- Kumbh Taal, Ganesh, Lakshmi Taal. Ability to perform laykari including tali khali.

(9). Reading of various bol compositions by hand actions and displaying various laykari.

(10). Mixing your instrument in swar.

(11). Knowledge and practice of playing different Bols in different playing styles.

(12). Knowledge of the principles of accompaniment of solo playing (salo) singing and playing.

(13). Rhythmic knowledge of playing with easy music, classical music and Vrindvadan.

(14). Practical proficiency as a Sangatkar.

(15). Knowledge of playing other unobstructed instruments.

(16). Practical knowledge of different instruments, their gharana and ability to play them.

Stage performance

(1) Ability to perform in prescribed taals of Tabla/Parkhavaj for practical test with thorough preparation of 20 minutes.

Note – The syllabus of previous years will be combined.