Syllabus for Tabla



PRAARAMBHIK: Introductory level

 

TOTAL NO OF POINTS:     50

PRACTICAL PRESENTATION: 40

ORAL PRESENTATION:      10

 

Minimum To Pass/Qualify : 18

 

THEORY (ORAL PRESENTATION)

 

Define the following terms:

 

Maatra, Taal, Sum, Taali, Khaali, Vibhaag, Dugun, Aawartan

 

PRACTICAL

 

1)         Ability to play all important bols with correct technique on the daayaa and baayaa.

 

2)         a) Ability to play the following taals with taali-khaali in single (baraabar) and double (dugun) tempo.

 

            Teentaal/Tritaal, Jhaptaal, Dadra, and Keherwa

 

b) Ability to recite and play Rupak taal with taali-khaali in single (baraabar or ek-gun) tempo.

 

3)         a) Tritaal: One ‘teTe’ kaida and one ‘te re ke Te’ kaida with 3 paltaas (variations) and a tehai.

 

            b) Tritaal and Jhaptaal: Atleast one Sum-to-Sum tehai in each taal.

 

Exam Time:     10 min/student

 

 

 

 

  PRAVESHIKA PRATHAM, Entry Level-1

 

TOTAL NO OF POINTS:     75

PRACTICAL PRESENTATION: 60

ORAL PRESENTATION:      15

 

Minimum To Pass/Qualify : 26

 

THEORY (ORAL PRESENTATION)

 

1) Define the following terms:

 

Sangeet, Naad , Swar , Laya, Bol, Theka, Kissm, Kayeda, Mukhada, Mohra, Tehai, Tigun, Chaugun, Tukda

 

2) Recital of following taals using hand gestures

   (with Taali-Khaali) in single & double tempo.

Rupak and Ektaal

 

3) Description of different parts of tabla such Syaahi, Gajaraa, etc.

 

PRACTICAL

 

1) Play thekas for the following taals in single (baraabar) and double (dugun) tempo:

 

Rupak and Ektaal

 

2) Play the following taals with  details as requested:

  

   Tritaal:        2 Kissms

                        1 Kayeda with the bol ‘Dhati’ with 3 variations & a Tehai.

                        2 Mukhadas and 2 tukdas

  

   Jhaptaal:      1 Kayeda with ‘teTe’ along with 3 variations & a Tehai, 1 Kissm, 1 Tukda, 2 ‘Sum to Sum’ straight tehais

 

Notes:              1. 15 min/student

                        2. All tabla playing should be with Nagma/Lehera

 

 

 

 

 

PRAVESHIKA PURNA , Entry Level-2

 

Total marks: 125 (passing marks: 44);

Theory: 50 (passing: 18);

Practical: 75 (passing: 26)

 

THEORY

 

1.         Knowledge of Vilambit, Madhya and Drut Laya

 

2.         Bols/ Phrases used in tabla.

            a. Bols produced only on the Daahina.

            b. Bols produced only on the Baaya.

            c. Bols produced on both drums together (simultaneously)

            d. Bols produced using combination of both drums simultaneously or separately.

 

3.         Knowledge of playing techniques of the following bols:

TRKT (te re ki Te), tek S kdaan, Kd dha, KTTK (ki Te te ke), GDNG (ghi De na ge), DRDR (dhire dhire), Treke, Kd dhaane, GDGN (ga di ge ne), etc.

 

4.         Detailed knowledge of Pt. Bhatkhande and Pt. Paluskar notation systems.

 

5.         Ability to write following taals in both notation systems:

            Teentaal, Dadra, Keherwa, Jhaptaal, Rupak

 

6.         Ability to write tukdas in Teentaal and Jhaptaal in Pt. Bhatkhande system.

 

7.         Definitions :  Kayeda, Palta, Rela, Tehai, Mukhda, Mohra, Laggi, Uthaan,

Chakradaar.

 

PRACTICAL

 

1.                  Ability to recite and play single-double of Dhumali, Deepchandi, Chautaal, Tevra.

 

2.                  Ability to play all bols covered in the Theory section with clarity on the tabla.

 

3.                  Teentaal: One Kayeda with ‘tre ke’ and one Kayeda with ‘dhati dhage’ along with 4 paltas and tehai; 4 Kissms, Rela, 2 Tukdas, 1 Chakradaar.

 

Jhaptaal: 1 Kayeda, 2 Tehais.

 

Ektaal:  2 Tehais, 2 Tukdas.

 

            Dadra and Keherwa:  2 straight Laggis.

 

            Rupak:  2 Kissms, 2 Tehais, 2 Tukdas.

 

4.                  Ability to accompany Chhota Khayaal and Razaakhaani Gat in Teentaal.

 

5.                  Ability to recite all compositions covered in the Practical section with taali-khaali.





MAADHYAMAA PRATHAM, Intermediate Level-1

 

 

Total: 200        Passing: 70

 

 

THEORY                    75 points/Passing: 26

 

 

1.         Brief history of Tabla, its development and changes in recent times.

2.         Knowledge of gharaanaas and baaj.  Detailed understanding of Delhi and Lucknow gharaanas.

3.         Basic knowledge of following vocal styles: Khayaal (Vilambit, Drut), Thumri, Bhajan, Taraana.

4.         Basic knowledge about solo and accompaniment.

5.         Desirable and undesirable qualities of a tabla player.

6.         Definitions: Farmaishi Chakradaar, Be-dum and Dum-daar Tehai, Gat, Peshkaar, various types of Parans.

7.         Ability to write notations of kaidas and relas in Teentaal, Jhaptaal and Ektaal.

8.         a) Guidelines for tuning the tabla.

            b) Knowledge about the use of tablas of various scales for all kinds of music.

 

PRACTICAL              125 points/Passing: 44

 

1.         In addition to previous years’ taals, thekas of following taals: Tilwaada, Vilambit Jhaptaal, Addhaa, Ada-Chautaal, Khemta, Sool-Taal.

2.         Clarify use of the following taals in various types of music:

            Ektaal, Teentaal, Dadra, Chautaal, Dhamaar

3.         a) Mukhadaas in Vilambit Teentaal and Jhaptaal;

b) Laggis with tehai in dadra/keherwa.

4.         Vistaar (elaboration, development) in following taals:

            Teentaal:

a) 1 Kaida each in Chatusra and Tisra jaati with minimum 4 paltas and tehai.

b) 1 Rela containing DhireDhire with minimum 3 paltas and tehai, 1 Gat, 1 Farmaishi Chakradaar, Tukras.

c) Tehais starting from 1st, 5th, 9th, and 13th maatraas.

            Jhaptaal: A 15 min solo with 2 Kaidas, 1 Rela, 3 Tehais (Sum to Sum), 3 Tukras, 2 Mukhdas, 1 Chakradaar.

5.         Ability to play following bols:

            a) DRDRKTTK tekiTe dha S

            b) Dhatreke dheKiTe kateGDGN (same as Dhatreke dheteTe kateGDGN)

            c) Digedinagene (same as dhine dhina gene)

            d) tek dine tek (same as tek dhine tek)

6.         Padhant (Recitation): Tigun in Teentaal, Jhaptaal, Ektaal, Rupak, and Chautaal.

7.         Ability to recite a Gat and Farmaishi Chakradaar in Teentaal with taali-khaali.

 

Notes:  1) Exam time: 35 min

            2) Entire exam with Nagma (Lehera) accompaniment.

 

 

 

 

 

MAADHYAMAA PURNA OR DWITIYA , Intermediate Level-2

 

 

 

Total: 250        Passing: 88

 

 

THEORY                    100 points/Passing: 35

 

 

1.         Various styles in vocal music: Dhrupad, Dhamaar, Ghazal, Tappa.

2.         History of Tabla from its origins to present times: changes and developments.

3.         Knowledge of all Gharaanaas of Tabla and their Baaj (characteristic style).

4.         Knowledge about accompaniment to vocal, instrumental, and dance and associated guidelines/rules.

5.         Teentaal, Jhaptaal, Rupak: Ability to write thekas in Aad, Kuwaad, and Biaad layas.

6.         Definitions: Aamad, Tripalli, Chaupalli, Gat Kaida, Kamaali Chakradaar.

7.         Biographies of the following tabla players and their contributions:

            Ustad Ahmedjaan Thirakhwa, Ustad Amir Hussain Khan Saheb, Ustad Alla Rakha, Ustad Habibuddin Khan, Pandit Samta Prasad, Ustad Aafaq Hussain Khan, Swami Paagaldaasji, Raja Chatrapati Singh.

8.         Essay on Taal and Tabla.

9.         Detailed comparative analysis of Peshkaar-Kaida-Rela.

 

PRACTICAL              150 points/Passing: 53

 

1.         Ability to do Padhant (vocalization with taali-khaali) and play thekas of following taals in baraabar and dugun: Jhoomra, Punjabi, Dhamaar.

2.         Ability to accompany Badaa Khayaal in Ektaal and Tritaal.

3.         Ability to play various mukhdaas in the above taals in Vilambit laya to arrive at the Sum.

4.         Ability to tune the tabla to a given note (Swar).

5.         Vistaar (elaboration, development) in following taals:

            a) Teentaal:

A 20-minute (max) solo with Peshkaar, Kaidas  in Chatusra and Tisra jaat, Relas with TRKT, DRDR, dinetek, Gats, Chakradaar Tukras, etc.

            b) Rupak, Jhaptaal, Ektaal: A well-prepared presentation that includes Kaidas, Relas, Tukras, etc. (at least 2 of each).

            c) Ability to play Tritaal in drut laya.

 

Notes:  1) Exam time: 35 min

            2) Entire exam with Nagma (Lehera) accompaniment.


 

 

 

 

 

 

VISHAARAD PRATHAM , Graduation level-1

 

Total: 400        Passing: 180

 

 

THEORY-I    

 

75 points/Passing: 26

 

1.         Difference between Taal and Theka; indepth definition of Taal.  Knowledge of Sam, Taali, Khaali, Khand/Vibhaag.

2.         Ability to write tukras in Teentaal and Jhaptaal in Thaa (baraabar; single tempo) and dugun.

3.         Definitions: Aamad, Peshkaar, Kaida, Rela, Chalan, Gat-Paran, Mukhda, Mohra.

4.         Comparative analysis of Taals of equal maatraas:

            a) Deepchandi-Jhoomraa, Aadaa Chautaal-Dhamaar

            b) Rupak-Tevra-Pashto

            c) Tritaal, Tilwaada, Addhaa-Punjaabi

5.         Relationship between Laya and Layakaari and definitions.

6.         Principles of classification of Indian musical instruments.  Knowledge of these instruments.

 

THEORY-II  

75 points/Passing: 26

 

1.         History of Tabla from its origins to present times: changes and developments.

2.         Knowledge of various styles (baaj) in tabla-playing: characteristics and comparision.

3.         Gharaanaas of Tabla and characteristics.  Detailed knowledge of any 1 gharaanaa from the following: Delhi, Lucknow, Punjaab.

4.         a) Placing and importance of Peshkaar, Kaida, Rela, and Gat in solo tabla-playing.

5.         Ability to write 2 dum-daar and 2 bedum tehais in each of the following taals:

            Tritaal, Jhaptaal, Aada-Chautaal

6.         Riyaaz methods to maintain balance between daayaa and baayaa.

7.         Biographies of the following tabla players and their contributions:

Ustad Salaari Khan, Ustad Munir Khan, Pt. Kanthe Maharaaj, Ustad Gaame Khan, Ustad Keramatullah Khan, Ustad Inam Ali Khan, Pt. Purshottam Das Pakhavaji, Pt. Madhavrao Algutkar, Pt. Sakharamji Gurav.

 

 

 

PRACTICAL             

 

250 points/Passing: 128 [Oral: 200 + Manch pradarshan (stage performance): 50]

 

1.         Study of tuning to a given scale.  Ability to identify madhyam and pancham of various scales on the harmonium.

2.         Ability to do Padhant (vocalization with taali-khaali) and play thekas of following taals in baraabar, dugun, tigun, and chaugun: Rupak, Ektaal, Sool taal, Chautaal, Tritaal, and Jhaptaal.

3.         Tritaal:

            a) Two ‘teTe’ kaidas – one in tisra and one in chatusra jaati, with 4 paltas and tehai

            b) Two ‘terekiTe’ kaidas with 4 paltas and tehai

            c) One ‘Dhin TRKTTK’ rela with 4 paltas and tehai

            d) One ‘Dhire dhire’ rela with 4 paltas and tehai

            e) Minimum 5 bandishes (gat-tukras)

            f) Two dum-daar and two be-dum tehais

4.         Riyaaz methods for the practice of following bols:

            Dha TRKTTKTRKT, dhati, dhageteTe, dhiredhire, dhinegene, GDGN, dhoomekiTe, dheTedheTe dhageteTe, dhet S tagen S ne

5.         Artful laggis in Dadra and Keherwa.

6.         Jhaptaal and Sawaari taal (15 maatraas):

            - 2 kaidas, 1 chatusra and 1 tisra

            - 1 rela

            - 2 dum-daar tehais

            - 4 tukras

7.         Ability to accompany vocal and instrumental presentations

8.         Dum-daar and be-dum tehais starting from various maatraas in taals covered so far

9.         30 minutes ‘manch pradarshan’ (stage performance)

 

Notes:  1) Exam time: 50 min

            2) Entire exam with Nagma (Lehera) accompaniment

            3) ‘Manch Pradarshan’ will be held separately in the presence of invitees and scored out of a maximum of 50 points

 

Manch Pradarshan:

 

1) Tritaal solo                                      30

2) Jhaptaal and Sawaari taal solo         20

                                    TOTAL            50


 

 

 

VISHAARAD POORNA , Graduation level-2

 

Total: 400        Passing: 180

 

 

THEORY-I    

 

75 points/Passing: 26

 

1.         Detailed analysis of Pt. Bhatkhande and Pt. Paluskar notation system

2.         Brief analysis of Dash Praan and detailed analysis of Kriya, Ang, Jaati, and Yati.

3.         Analysis of Carnatic and Hindustani taal systems

4.         Comparison between Indian and Western ‘avanadh’ instruments

5.         Difference between Laya and Layakaari.  Ability to write notations for sum-to-sum compositions in Aad, Kuwaad, and Biaad layakaari in the following taals:

            a) Tritaal, b) Jhaptaal, c) Dhamaar, d) Sool taal

6.         Definitions with examples of the following terms:

            Uthaan, tripalli & chaupalli gat, farmaishi gat, farmaishi chakradaar, kamaali chakradaar, rau, laggi, ladi, and kissm

7.         Instruments used in the accompaniment of indian classical music, sugam sangeet, lok sangeet:

            Taanpura, harmonium, pakhavaj, mrudangam, dholak, dholaki (naal), khol, sambal (pronounced ‘sumble’), gudum (pronounced ‘goodoom’), ektaara, tavil, shehnai

 

THEORY-II  

75 points/Passing: 26

 

1.         Status/position, importance, and application of Tabla in Indian music and various proposed theories on the instrument’s development

2.         a) Principles used in the composition of peshkaar, kaida, rela, and gat

            b) Principles used in the composition of theka, development/variations (‘prastaar’), rela, and gat paran

3.         Understanding of ‘nikaas’ (desired sound) of various bols used in tabla-playing

4.         Principles of tabla accompaniment to classical, semi-classical, and sugam (light) sangeet (music)

5.         Knowledge of gharaanaas of Pakhavaj

6.         Features of Ajrada, Farukhabad, and Benares gharaanaas of tabla

7.         Solo tabla-playing:

            a) order of presentations of various types of compositions

            b) desirable features of effective presentations

            c) need/importance for ‘padhant’ (recitation)

8.         Rules for designing new taals

9.         Biographies of the following players and their contributions:

Ustad Natthu Khan, Ustad Shambhu Khan, Ustad Wajid Hussain, Ustad Abid Hussain, Ustad Chudiya Imam Baksh, Pt. Govindrao Barhanpurkar, Pt. Parvatsingh, Pt. Ayodhyaprasad.

PRACTICAL             

 

250 points/Passing: 128 [Oral: 200 + Manch pradarshan (stage performance): 50]

 

1.         a) Delhi and Farukhabad Peshkaars with variations

            b) 1 tisra- and 1 chatusra-jaati ‘treke’ kaida with 6 variations and tehai

            c) A tisra-jaati kaida comprising the bol ‘Dhatege ghetege’ with 6 variations and tehai

            d) A kaida comprising the bols ‘ghegheteTe’ and ‘gheghenage’ with 6 variations and tehai

2.         Rela:

            a) ‘Dhiredhire’ rela with 5 variations and tehai played with the expected ‘tayyaari’ (preparation/level)

            b) ‘Dingenage’ rela with 5 variations and tehai

3.         Gat:

            Padhant and execution on the tabla of 2 pure gats (with tehai), 2 chakradaar gats, and 2 tripalli gats

4.         Tehai:

            2 Bedam tehais and 2 sum-to-sum tehais with a dum (rest) of 1.5 maatraas

5.         Padhant and play of dugun, tigun, and chaugun of the following taals:

            Ektaal, Jhoomraa, Sooltaal, dhamaar

6.         A 10-minute solo in any one of the following taals as per instructions from the examiner:

            matta taal, rudra taal, aadaa chautaal

7.         Ability to tune the tabla to a given sur (note), and then retune it to half a note below or above that note

 

 

 

Manch Pradarshan

 

1.         30-Minute solo as per examinee’s choice

2.         Artful laggis in deepchandi, keherwa, and daadraa

Notes:  1) Exam time: 60 min

            2) Entire exam with Nagma (Lehera) accompaniment

            3) ‘Manch Pradarshan’ will be held separately in the presence of invitees and scored out of a maximum of 50 points

 

 

Manch Pradarshan:

 

1) 30-Minute solo in any taal                                       35

2) Artful laggis in deepchandi, keherwa, and daadraa 15

                                    TOTAL                                    50