Syllabus of Tabla under Bhatkhande Sangit Vidyapith

Sandasakala Peetaya - Syllabus of Tabla under Bhatkhande Sangit Vidyapith

TABLA AND MRIDANG

PRATHAMA (Theory)

 

  1. Ageneral knowledge of the origin of Tabla or Mridang
  2. Descriptionand study of various parts of Tabla or Mridang
  3. Techniqueof the instrument concerned and how to produce syllables (Varna) on
    itindividually and jointly
  4. Definitionsof the following terms:
    Sangeet, TatVadya, Avanadha Vadya, Ghana Vadya, Sushir Vadya, Laya, Tal, Matra,
    Sam, Khali,Bhari, Tali, Vibhag, Avartan, Theka, Vilambit, Madhya, Drut, Barabar,Dugun,Tigun, Chaugun
  5.  Definitionsof the following terms:
    Quida, Gat,Mukhda, Rela, Tihai, Tukda, Mohra, Bol, Palta
  6. Methodof writing in notation all the prescribed Talas with their Thekas and Bols

 

MADHYAMA (Theory)

 

Revision of theTheory learnt in the previous year:-

 

  1. Meritand demerits Definitions of a Tabla or Mridang Player
  2. Ageneral knowledge of the different Gharanas of Tabla or Mridang
  3. Knowledgeof the flowing terms:
    Laggi,Ladi, Paran, Peshkar, Uthan
  4. The Talas that are used in accompaniment to the following styles of singing :-
    Dhrupad, Dhamar,Hori, Bada Khyal, Chhota Khyal, Thumri, Bhajan, Tappa, Geet, Gazal
    and Qawwali
  5. Ageneral knowledge of the other varieties of Tal Vadya (Percussion Instruments)
  6.  Writingin notation of all the Tals prescribed
  7. Lifesketch of any one of the following:-

1. Wajid Hussain Khalifa,    2. Pandit Sakharam,     3.Ayodhya Prasad

VISHARAD PART I (Theory)

  1.  Acomparative study of the different Bajs of Tabla or Mridang
  2. TheTen Parans of tal
  3. Adetailed study of the origin of Tabla or Mridang
  4. Generalknowledge of Ada, Kuadi & Biyadi
  5. Knowledgeand meaning of the following terms:-
    Prakar or Kisimof the presented Tals, Rau, Chala or Chalan, Misil, Bant, Pench,
    Angushtana,Farad, Charbagh, Dupalli
  6. Lifesketch of any one of the following:-

1. Ahmad Jhan Thirakwa, 2.Habibuddin;
or
1. Ambadas, 2. Parbat Singh

 

 

 

VISHARAD PART II (Theory)

  1. Ageneral study of the South Indian Tal system
  2.  Themain characteristics of the different Gharanas of Tabla or Mridang playing
    andhow to differentiate between them
  3. Definitionand Knowledge of the following terms:-
    Zarab, Wazen,Ati Vilambit, Ati Drut, Jati (five kinds), Yati (five kinds), Graha(fourkinds), Tripalli, Chaupalli, Lalkila, Lom Vilom, Ekhaththi Paran, Gat-Quida,Gat-
    Paran, Navhakka
  4. Knowledgeof and difference between the two prevalent Tal notation system: viz
    Bhatkhandeand Vishnu Digamber
  5. Ageneral knowledge of the other North Indian percussion instrument (Tal Vadya)
  6. Tablaor Mridang as accompaniment to : Vocal Music, Instrumental Music and Dance
  7. Tablaor Mridang as solo and accompaniment
  8. Lifesketch of any of the following:-

1. Abid Hussain, 2. Nathan;
or
1. Nana Saheb Panse, 2. Kodau Singh

PRACTICAL

PRATHAMA (1st Year) Tabla

 

  1. Thefollowing Tals : – Trital, Jhaptal, Ektal, Dadara and Kaharva
  2. Abilityto play the Thekas of the prescribed Tals in Barabar and Dugun layas
  3. Three simple Quidas with at least variation in Trital
  4. Two simple Quidas in each Jhaptal and Ektal with at least four Paltas in each
    withThekas
  5. Four variations of Thekas of Dadara and kaharva
  6. Padhant of the prescribed Tals and Bols by beat of hands

 

PRATHAMA (2nd Year) Tabla

Revision of the Previous Years Course

  1. Abilityto play the Thekas of the pesccribed talas of previous year in Barabar,
    Dugunand Chaugun Layas
  2. The Thekas of the following Talas in Barabar and Dugun Layas : – Tilwara,
    Jhoomara,Punjabi, Ada-Chautala and Ektal
  3. Trital / Ektal / Jhaptal : Two AdvancedQuidas, Four Tukdas, Two Relas: Two
    Mukhdas and simple Tihais in each Tal
  4. Twomore variations of the Thekas of Dadara and Kaharva
  5. Padhantof the prescribed Talas and Bols
  6. Elementaryknowledge of the tuning of the Instrument

 

MADHYAMA (Tabla)

 

Revision of the Previous Course

  1. Trital: – Two advanced Quidas witheight Paltas in each, Three advanced Gats, Two
    Mukdas and Relas, Three Tukdasand simple Tihais and playing of Trital in Adilaya
    .
  2. Barabar,Dugun, Tigun and Chaugun of the Thekas of the following tals: – Sawari,
    Roopak,Sool
  3. Sawariand roopak: – Two Quidas, Two Gats, Two Relas, Two Mukhdas, Two
    Tukdas andadvanced Tihais in each tal
  4.  Chautaland sool :- Four Tudas and Two Parans (Sada and Chakradar) in each Tal
    andadvanced Tihais
  5. Thekasof the following talas in Barabar and Dugun Layas with simple Tihais : –
    Matth,Gajajhampa, Teora, Jhampa
  6. Tuningof the Instrument
  7. Padhantof all the Tals and Bols prescribed

 

VISHARAD PART I (Tabla)

 

Revision of the Previous Course

  1. Trital: – Peshkar, Two advanced Quidas,Four advanced gats, Three Mukhdas, Four
    Tukdas and Two Relas with eight paltasin each
  2. Thefollowing Tals :- Shikhar, Rudra, Yati Shikhar and Chitra – their Thekas
    inBarabar, Dugun, Tigun and Chaugun Layas with simple Tukdas and Tihais
  3. TalasFarodast and Pashtu with simple Quidas
  4. Theuse of Laggi and Ladi
  5.  Padhantof all the Tals and Bols learnt

VISHARAD PART II (Tabla)

 

Revision of the Previous Course

  1. Trital: – Advance Peshkars, Gats,Quidas, Relas, Tukdas, Mukhdas and Parans
  2.  Thefollowing Talas :- Basant, Brahma, Laxmi, Vishnu, Ganesh and Mani with
    theability to perform on them, Four Sada Tukdas, Two Chakradar Tukdas, Four
    sadaParans, Two Chakradar Parans, Two Mukhdas and two Relas in each tal
  3. Abilityto play the Thekas of Trital in Barabar, Dugun, Tigun, Chaugun, Chehgun
    andAtgun Layas
  4. PerfectTuning of the Instrument
  5.  Abilityto play the Thekas of all prevalent Talas in Vilambit Lata and those talas
    thatare Simple played with String instrument and Drut Khyal and Tarana as well
    DrutLaya
  6. Perfect Padhant of all the Talas and Bolslearnt in any given Laya

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