Tabla & Pakhawaj Sangeet Bhushan Final Syllabus In English
Tabla & Pakhawaj
Exam Marks
Total-250
Theory-50
Practical-200
Theory
(1).Study of the following terms – Jati (five types) of the Grah and its four types, Peshkar, Tabla’s pawn, Mukhda, Rela, Laggi, Ladi, Kuad, Gat, Baant, Chakkardar Varan, Damdaar Tihai and Bedamadaar Tihai.
(2) Taal and its ten Pran.
(3). Knowledge of simple singing and playing style – Jas Dhrupad, Dhamar, Thumri, Khayal, Masitwani and Razarwani Gat.
(4). Comparative study of taal groups of same matra.
(5). Knowledge of the history of Tabla and Pakhawaj.
(6). Method of combine Tabla and Pakhawaj.
(7). Merits and demerits of Tabla and Pakhawaj player.
(8).Study of Taal paddhati of Bhatkhande and Vishnu Digambar and practice of writing Kaida, Tukda, Paran, Peshkar etc. in both paddhati.
(9). Practice of writing Thah, Dugun, Tigun, Chaugun and Aad-Laykari of Theka of all taals prescribed from first to third year.
(10). Study and contribution of Ustad Ahmed Jan Thirakwa, Pt. Anokhelal, Hivvudinkhan, Pt. Samta Prasad, Pt. Kishan Maharaj, Ustad Karamatullah Khan, ‘Hiren Ganguly’s artistic practice among the prominent persons of tabla players.
(11). Essay on Sangeet.
(12). Role of Kaida, Peshkar, Raila in independent playing.
(13). Difference between Lay and Laykari, scripting Paungun, Aad, Tigun under Vishma Laykari and their practical presentation.
(14). Knowledge of different traditions (Gharana) of Tabla and Pakhawaj and information about their founders.
(15).Need, importance of Lehra for taal instrument and knowledge of Lehra in prescribed taals.
(16). Knowledge of different instruments of playing tabla and pakhavaj.
Practical
(1).Practice of playing Paran, Tukde and Laywat in Adachartaal, Dhamar, Jhumra, Punjabi Theka, Jattaal, Swari (15 matra), Gajjhampa, Matt and Rudra Taal Theka in Thah, Dugan, Tigun and Chaugun laykari.
(2).Practice of playing Peshkar, Kaida, Tukda, Chakkardar Paran in Ektaal, Chartaal, Aadachartaal and Jhumra Taal. Practice of playing five Tukda and three Tihai in Dhamar and Teevara Taal.
(3). Practice of combine tabla and pakhawaj.
(4). Ability to accompany vocals and instrumental music.
(5).In Dadra and Keharwa Taal, practice of playing hard laggi and ladi and practice of ending by playing Tihai.
(6). Playing the Lehra in Tritaal and Jhaptaal.
(7) Practice of playing Gat, Paran and Chakkardar Paran in Dhamar, Teevra and Sulfak Taal.
(8). Practice of playing Rupaka, Jhaptaal, Ektaal, Peshkar in Adachartaal, three Kaida, two Rela,Tihai, five simple Tukda, Chakkaradar Tukda, three Sada Paran, three Chakkaradar Paran.
(9). Knowledge of Mukhra, Mohra in the above taals
(10).For Pakhawaj:- Teevra, Sooltaal, Chartaal, Dhamar, Deepchandi, Five Sada Paran in Rupak, Five Chakkaradar paran, Five Sada Tihai, Five Chakkaradar Tihai knowledge as well as the knowledge of Rela in these.
(11). Detailed knowledge of the things that a Tabla player should keep in mind in order to accompany any singer / instrumentalist and dancer.
Note– The syllabus of previous years will be combined.
