Tabla & Pakhawaj Sangeet Visharad Final Syllabus In English
Tabla & Pakhawaj
Exam Marks
Total-300
Theory-100
First Paper-50
Second Paper-50
Practical-125
Stage performance -75
Theory
First Paper
(1). Study of the following definitional words – Lom, Vilom, Aad, Viyad, Dupalli, Tripalli, Anaghat, Sama, Visham, Chakkardar Paran, Farmaishi Paran, Drut, Anudrut, Atayi, Gat Paran, Rules of Prastar, Peshkar, Raila -Rau, Laggi, Ladi, Padhant, Kamali ki Paran, Aad, Kuwad, Viyad Aatit, Anaghat and Visham.
(2).Complete study of North Indian and South Indian taal paddhati and their comparative analysis.
(3). Complete history of Tabla and Pakhawaj.
(4). Difference in playing style of Tabla and Pakhawaj.
(5).The role of your instrument under Indian instrument classification, its development, study of historical perspective.
(6) Reasons for the birth and development of different gharanas of Tabla and Pakhawaj.
(7).Speciality of playing style of Delhi, Punjab and Lucknow Gharanas.
(8). Knowledge of western taal paddhati and brief knowledge of the history of western and Indian instruments.
(9). Place of taal in western music.
(10).Knowledge of the difference between lay and laykari.
(11). Study of Farmaishi, Kamali, Jawabi chakradaar compositions.
(12). Comparative study of northern and southern percussion instruments.
(13).Essay-
- The purpose of keeping the tali khali and vibhag in the taal
- Correct technique of playing tabla.
- Effect of tabla playing on human emotions.
- Tabla as theme.
(14). Ability to write Uttari paddhati Taal in Karnatak Taal paddhati and Karnatak taal in Uttari Taal paddhati.
(15).Knowledge of making nagams (waves) of different talas in different ragas
(16). Knowledge, importance, usefulness of Chand Shastra Pingal Shastra in context of taal lay performance.
(17). Study of principles of taal composition.
(18). Study of the developmental side of Taal, concept related to Taal of various scholars, their critical study.
(19).Indian folk percussion instruments, their use, importance and their use in different styles
(20) Lay-Laykari, its basis elements, sam – visham, study of Laykari, their use and their utility in taal Shatra.
(21). Comparative study of Tabla, Pakhawaj and Mridang playing styles.
Second Paper
(1). Practice of writing different laykari according to the taal groups prescribed in the syllabus.
(2) Practice of writing in difficult Peshkar, Kaida, Paran, Tukda, Mukhda, Rela, Tihai, etc. Bhatkhande and Vishnu Digambar Paddhati.
(3). The practice of writing Theka for prescribed taals in the Carnatic and Western taals.
(4). Comparative study of all the taal prescribed in the syllabus.
(5). Ability to write essay on music topics.
(6). Biography and contribution in the field of art – Mr. Gyan Prakash Ghosh, Krishna Maharaj, Samta Prasad, Pt. Ram Sahay, Ustad Munir Khan, Karamat Tulla Khan, Mannu ji Mridangacharya, Raja Chhatrapati Singh, Sakharam Pant Agle and Gobind Rao Burhanpurkar.
(7).Knowledge of Lehra in curricular taals.
(8). Contracts to be played with different singing styles and their use.
(9). Use, importance and usefulness of locks of equal quantity.
(10). Biography: Ustad Ahmad Jan Thirakwa, Ustad Allah Rakha, Pandit Kanthe Maharaj
Practical
(1). Practice of playing the following Taals in Thah, Dugun, Tigun and Chaugun laykari- Brahma, Kumbh, Pashton, Lakshmi and Shikhar.
(2). Practice of playing simple Paran, Tukda and Gat in the above taals.
(3).Rupaka, Pancham Swari (15 Matras) and practice of playing difficult Peshkar, Kaida and Paran in one taal.
(4).Complete knowledge of the characteristics of the playing style of different Gharanas of Tabla, Pakhawaj and Mridang.
(5). The practice of accompaniment with Dhupada and Dhamar is compulsory for the examinees of Parakhavaj.
(6).Tabla examinees need to practice accompaniment with instrumental music, Khayal, Bhajan and Thumri.
(7). Practice of playing Lehra in Dhamar, Rupak and Ada Chartaal.
(8). Practice of accompaniment with dance.
(9). Practice of playing a new Tukda by preparing it.
(10). Rudra Taal (Matra), Pancham Swari (15 Matras), Ek Taal and Jhaptaal Sundar Peshkar, four different types of rules, two Rela, four types of Tihai and (sada chakradar) Gat, Tukda, Paran, simple chakradar Along with Farmaishi, Kamali Chakkardar.
(11) For Parkhavaj: – Preparation of five beautiful Paran, Chakradar, Farmaishi compositions, different types of Tihai, Chalan, chala, Rau etc.
(12). In Dadra, Chanchar, Pashto, Khemta, different types of beautiful Laggi and Ladi.
(13). Preparation of Teen Taal, Jhaptaal with special ingredients.
(14). Ability to play hoist in prescribed taals.
(15). Ability to accompany singing, playing instruments and dancing.
Stage Performance:-
Stage performance of 30 minutes in full instrumental style is mandatory.
Note – The syllabus of previous years will be combined.
