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ABGMVM TABLA SYLLABUS

LEVEL - 1

Abgmvm/Tabla/ Pakhaavaj/Nov 06

Akhil Bhartiya Gandharva Mahavidyalaya Mandal

PRARAMBHIK TABLĀ / PAKHĀVAJ

Marks: 50 Minimum: 18

Practical: 40, Theory: 10 (Oral)

Theory in oral form:

1. Definitions of the following terms

Matră, Tăl, Sam, Tăli, Khăli, Vibhăg, Dugun, Ăvartan

Practical:

1. Complete knowledge of all main varnăs and its method of playing on your instrument.

2. a. Proficiency in reciting and playing all the following tăls in thăh and dugun.

1) Tabla: Trităl, Jhaptăl, Dadră, Kaherwă

2) Pakhăvaj: Ădităl, Chautăl, Sultăl

2) b. Ability to recite and play Rupak / Tewră tăl in barăbar ki laya (normal tempo)

3) Improvisation in following tăls:

TABLĂ

a. TRITAAL

 One TiTa kăydă with three paltăs with tihăi.

 One Tirakita kăayda with three paltăs with tihăi.

b. At least one tihăi from sam to sam in Trităl and Jhaptăl.

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PAKH ĂVAJ
a. Composition of Dhage Tita and Dhum Kita bols with variations in Chautăl in barăbar ki
laya (normal tempo).

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MARKSHEET QUESTIONNAIRE

Notes:

 10 minute is allotted for each candidate. It is important to ask questions according to the
columns.

 Questions for the Pakhăvaj will be asked according to the syllabus.

 From Praveshika Pratham every candidate will have to perform with the Laheră. Only
practical part of the syllabus will be repeated from Praveshika Pratham onwards.

 Questions relevant to accompaniment (săth sangat) must be conducted in the presence


of vocalist or an instrumentalist.

1 Definitions 10 marks
2 Playing of Varnăs and thekăs of tăls in single and double 10 marks
3 Recitation of the thekăs of tăls by hand 10 marks
4 Playing in Trităl and Jhaptăl according to the syllabus. 12 marks
5 Playing in Rupak tăl according to the syllabus. 3 marks
6 Overall presentation 5 marks
7 Total 50 marks

LEVEL - 2

Abgmvm/Tabla/ Pakhaavaj/Nov 06

Akhil Bhartiya Gandharva Mahavidyalaya Mandal

PRAVESHIKA PRATHAM TABLA / PAKHAVAJ

Marks: 75 Minimum: 26
Practical: 60, Theory: 15 (Oral)

Theory: (In oral form):

1. Definition of the following terms

Sangeet, Năd, Swar, Laya, Bol, Kisme, Kăydă, Mukhdă, Tihăi, Tigun, Chaugun, Tukdă

2. Rupak / Tewră and Ektăl / Adităl to recite by hand showing khăli and tăli in barăbar ki
laya

(basic tempo) and dugun (double)

3. Explanation of the various parts of Tabla / Pakhăvaj.

Practical:

1. Rupak / Tewră and Ektăl / Adităl to play in barăbar ki laya (basic tempo) and dugun
(double).

2. Improvisation in following Tăls:

TABLA

Trităl :

 Two kisme

 one kăydă of Dha ti with three paltăs and tihăi

 Two mukhăs

 Two Tukdăs.

Jhaptaal:

 One kăydă of Tita with three paltă and Tihăi

 One kisme

 One tukdă

 Two tihăis from sam to sam

PAKHĂVAJ

Chautăl & Sultăl


 Two Parans in each tăls.

 One relă with four paltăs in each tăl.

 Two tihăis from sam to sam in each tăls.

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Notes:

1. 15 minutes are allocated for each candidate for this examination

2. Candidate must perform everything with the lahera.

3. Student of Pakhăvaj will be asked tăls from the syllabus.

MARKSHEET QUESTIONNAIRE

Subject Matter Marks


1 To play thekăs of tăls of syllabus in dugun (double) 10
2 Definitions and to recite thekăs of tăls by hand 10
3 Explanations of Dănyu (small drum) and Bănyu (big drum) 05
4 Recital in Trităl 25
5 Recital in Jhaptăl 20
6 Overall presentation 5
Total 75

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LEVEL - 3

Abgmvm/Tabla/ Pakhaavaj/Nov 06

Akhil Bhartiya Gandharva Mahavidyalaya Mandal

PRAVESHIKA PURNA TABLA / PAKHAVAJ


Marks: 125 Minimum: 44

Theory: 50 / Min: 18 Practical: 75 / Min: 26

Theory

1. Knowledge of Vilambit, Madhya and Drut laya.

2. Different Bols /syllables played on Tabla / pakhavaj and the procedure of playing.

 Bols /syllables played only with the right hand.

 Bols/syllables played only with the left hand.

o Bols/ syllables played with both hands together.

3. Write the process of playing the following bols:

 Tirakita takdaan, Kada dha , Kitataka , Ghida naga, Dhir dhir, Traka, Kdadhaan, Gadigana.

4. Full knowledge of Pt. paluskar and Pt. Bhatkhande notation systems.

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

 Tabla: Tritaal, Dadra, Keharva, Rupak, Jhaptaal.

 Pakhavaj: Chautaal, Sultaal, Tevra, Dhamaar and Aaditaal.

6. Knowledge of writing the Tukdas of Tritaal / Chautaal and Jhaptaal / Sultaal in Pt. Bhatkhande

notation system.

7. Definition of the following terms.

 Kaayda, rela, Palta, Tihai, Mukhda, Laggi, Uthaan, Chakradhaar, Mohra.

Practical

1. Ability to recite by hand and play the following taals in single and double:

Tabla: Dhumali, Dipchandi, Chautaal, Tevra.

Pakhavaj: Dhamaar, Tivra, Tritaal

2. Ability to play all the bols /syllables from this year’s theory section (no.3).

3. Improvisation in the following taals:


Tabla:

a. Tritaal: One Kaayda each of Dhati dhage and Traka- 4 paltaas, Tihai,

One Rela, 4 Kismes, One chakradaar and Two Tukdaas.

b. Jhaptaal: One kaayda and Two Tihais.

c. Ektaal: Two Tihais and Two Tukadaas.

d. Dadra and Keharva: Two simple laggis in each taal.

e. Rupak: Two Kismes, Two Tihais, Two tukdaas.

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Pakhavaj (NOT TO FOLLOW BY THE TABLA STUDENTS)

a. Chautaal: Two relaas, One Padaar, Two simple Paran.

b. Sultaal: One Rela, Two Paran

c. Dhamaar: Two Paran, Two Tihais, Two Tukdaa

d. Tivraa: Two types of Thekaas, Two Paran, Two Tihais.

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4. Tabla: Ability to accompany with Chotaa Khyal or Rajakhani gat in Tritaal.

Pakhaavaj: Ability to accompany with Dhrupad.

5. Ability to recite and show by hand (padhant) of all the composition (rachana) types given in the

practical part (eg. Taal, Tukda, Chakradaar, Tihai etc.)

NOTES:

a. Allocation time for practical examination is 20 min.

b. All students should play with the lehara.

c. For the Pakhaavaj students, taals of Pakhaavaj from the syllabus will be asked.

MARKSHEET QAUESTIONNAIRE
Marks

1. To play thekaas of taal and their dugun 10 marks


2. Nikaas – ways of each syllable and its sound projection 05 marks
3. Performance in Tritaal 20 marks
4. Performance in Jhptaal, Ektaal and Rupak 15 marks
5. Laggis in Dadra and Kaherwa 05 marks
6. Accompaniment (according to the syllabus) 05 marks
7. Padhant by giving taals by hand. 10 marks
8. Overall performance 05 marks
Total 75 marks

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LEVEL - 4

Abg/Tabla/ Pakhaavaj/Nov 06

Akhil Bhartiya Gandharva Mahavidyalaya Mandal

MADHYAMA PRATHAM TABLA / PAKHAAVAJ

Marks: 200
Theory: 75 / Min: 26

Minimum: 70
Practical: 125 / Min: 44

Thoery:

1. Short history of Tabla / Pakhavaj and its modification in modern time.


2. Explanation of various Gharanaas and Baaj with examples and detailed information from
the following.

Tabla: a) Delhi b) Lucknow

Pakhavaj: a) Paanse b) Kudonsinh

3. Information about various Gaayan Shailee (vocal styles) and Gaayan Prakaars (vocal
types).

a) Khyaal (vilambit – drut) b) Dhrupad c) Thumri d) Bhajan e) Taraanaa

4. Performance knowledge of Tabla / Pakhaavaj for Swatantra or solo and Saath Sangat or

accompaniment.

5. Good and bad qualities of Tabla / Pakhaavaj artist.

6. Definitions of the following terms

a) Farmaayshi Chakradhaar b) Tihai – Bedam and Damdaar c) Gat d) Peshkaar

e) Paran and its various types.

7. Tabla: To be able to write notation of Kaaydaas and Relaas of Tritaal, Jhaptaal and Ektaal.

Pakhaavaj: To be able to write notation of Relaas and Parans of Chautaal, Sultaal and

Dhamaar.

8a. Procedure of how to tune your instrument.

b. Knowledge of various pitched tabla to be used with different musical styles for

accompaniment.

c. Procedure and reason of using dough on the baanyu of Paklhaavaj.

Practical:

1. Thekaa of following taals.

Tabla: Tilwada, Jhaptaal (vilambit), Addha, Adaa Chautaal, Khemtaa, Sultaal

Pakhvaaj: Jhampaa, Jhaptaal, Basant, Vikram (12beats), Dhumaali

2. Use of following Taals in various musical styles

Ektaal, Tritaal, Dadra, Chautaal, Dhamaar

3. Tabla:

a) to play mukhdaas in vilambit Tritaal and Jhaptaal

b) to play Laggi in Kaherwa and Dadra with tihai in end to join the thekaa.
4. Improvisation in following Taals - (Candidate for Tabla )

Tritaal:

a. One kaayda of Chatashra Jaati and Tishra Jaati each with four paltaas and tihai.

b. Relaa of Dhira Dhira with three paltaas

c. One Gat, One Farmaayshi Chakradhaar and Tukdaas (three / four)

d. Ability to join the sam with tihai from 1, 5, 9, 13 beats.

Jhaptaal:

a. Ability to play Jhaptaal up to 15 minutes with-

1) Two Kaydaas 2) One relaa 3) Three Tukdaas 4) Three Tihais (sam to sam)

5) Two mukhdaas 6) One Chakradhaar

Ability to play following bols (candidate for tabla)

1. Dhira dhira kitataka takita dha S

2. Dha traka dhikita kata gadigana

3. Ding dinaa ginaa

4. Taka din taka

Pakhvaaj:

1. to play Uthaan in Chautaal and Dhamaar

2. to play Laggi in Dhumaali and Dadra with tihai in end to join the thekaa.

a. Dhet dhina naka, Dhet dhina naka, dhina naka

b. Dhum kita dhum kita takita takaakita

c. Takita takaa titakata gadigana taa dha


6. Ability to recite following taals by hand in tigun laya (triple speed)

Tabla: Tritaal, Jhaptaal, Ektaal, Rupak, Chautaal

Pakhaavaj: Chautaal, Dhamaar, Sultaal, Tivraa, Tritaal

7. Ability to recite Gat and Farmaayshi chakradhaar by hand in Tritaal.

MADHYAMA PRATHAM TABLA / PAKHAAVAJ

Marksheet

Note: 1) 35 minutes is allocated for each candidate for this year’s examination.

2. Student must perform with the llahera.

3. Pakhaavaj taal will be asked from the syllabus for the pakhaavaj exam.

Contents Marks

1 Thekaa of taals and their dugun 10

2 Mukhdaa in the vilambit taals 10

3 Improvisation in Tritaal (syllabus based) 40

4 Improvisation in Jhaptaal (syllabus based) 30

5 Laggis in Dadra and Kaherwa taals 05

6 Padhant (recitation) of Gat and Farmaayshi chakradhaar 05

7 To recite Taals in Tigun laya (syllabus based) 10

8 Nikaas and Taiyaari (presentation with correct sound & style with expertise) 10

9 Overall impression 05

TOTAL 125
Abg/Voc- ins/Nov 06
Akhil Bhartiya Gandharva Mahavidyalaya Mandal

MADHYAMA PURNA TABLA / PAKHAVAJ

Marks: 250 Minimum: 88

Theory: 100 / Minimum: 35 Practical: 130 / Minimum: 53

Theory:

1. Knowledge of different vocal styles : Dhrupad, Dhamaar, Gazal, Tappaa

2. History of tabla / pakhaavaj : Modification and progression from ancient to modern


times

3. Knowledge of all gharaanaas and their baajs of tabla / pakhaavaj

4. Knowledge of accompaniment for vocal, instrumental and dance with the information of
its rules

5. Tabla – ability to write notations in Aad, Biaad and Kuaad of Tritaal, Jhaptaal and Rupak
taal

Pakhaavaj – Chautaal, Sultaal and Dhamaar

6. Definition of following terms:

Aamad, Tripalli, Chaupalli, Gat kaayda, Kamaali Chakradhaar

7. Biography of following players and their contribution in music

1. Us Ahmadjaan Thirakwaa 2. Us. Amir Hussain Khansaaheb 3.Us. Allarakha

4. Us. Habibuddin Khan 5. Pt. Samtaprasad 6. Us. Afaak Hussain 7. Swami Pagaldasji

8. Raja Chhatrapati Sinh

8. Essay on to taal and tabla / pakhaavaj relevant subjects

9. Comparative study of the following terms:

Tabla – Peshkaar, Kaaydaa, Relaa

Pakhaavaj – Saath Paran, Gat Paran, Bol Paran

Practical:

1. To be able to recite and play following taal’s thekaas by hand in ekgun and dugun.

Tabla: Jhoomra, Punjabi, Dhamaar


Pakhaavaj: Gajjhampaa, Matt taal, Rudra Taal

2. Tabla: Ability to do accompaniment with Badakhyaal in Ektaal and Tritaal.

Pakhaavaj: Ability to do accompaniment with Dhrupad, Dhamaar and Saadraa

3. Ability to join the sam by playing mukhdaas in vilambit laya in the above mentioned taals
(i.e Jhoomra, Punjabi, Dhamaar)

4. Knowledge of appropriate tuning of tabla / pakhaavaj

5. Improvisation in following taals (For Tabla students)

A. Tritaal : Ability to perform up to 20 minutes solo with-

o Peshkaar

o Kaayda of tishra jaati and chatashra jaati

o Relaas of tirakita, dhira dhira and dina taka

o Gat , Chakradhaar tukda etc

B. Ability to play Rupak, Jhaptaal and Ektaal with Kaaydaas, tukdaas, relaas etc (minimum
two variations) with full preparation.

C. Ability to theka of tritaal in drut laya.

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(For Pakhaavaj students)

A. Solo performance in Chautaal up to 20 minutes.

B. Solo performance in Tewra, Sultaal and Dhamaar taal with full preparation up to10
minutes

C. Ability to play thekaa of Chautaal / Dhamaar in drut laya.

Marksheet

Note:

1. For every candidate 35 min. is allotted for this examination.

2. Student has to perform with the lahera

3. For Pakhaavaj exam taals from the syllabus will be asked.

Contents Marks

1 Thekaas of taal with its dugun 10

2 Accompaniment 15
3 Mukhdaas in vilambit laya to join the sam 10

4 Tuning of instrument 05

5 Performance in Tritaal (syllabus based) 50

6 Performance in Rupak, Jhaptaal; and Ektaal (syllabus based) 45

7 Thekaa of tritaal in drut laya 05

8 Nikaas and tayaari (production and preparation) 05

9 Overall presentation 05

Total 150

Abg/Voc- ins/Nov 06

Akhil Bhartiya Gandharva Mahavidyalaya Mandal

VISHARAD PRATHAM TABLA / PAKHAAVAJ

Marks: 400 Minimum:


180

Practical: 250 (Oral: 200+Manch Pradarshan: 50), Minimum:128


Theory: 150, Minimum:52, (26+26)

First Question Paper:

Theory:

1) Difference between Taal and Thekaa, detailed definition of taal.

Knowledge of Sam, Khaali, taali, Khand/Vibhag.

2) Knowledge of writing notations of tukdaas in thaah & dugun of Tritaal and Jhaptaal.

3) Definitions with examples of the following:

Aamad, Peshkaar, Kaayda, Relaa, Chalan, Gatparan, Mukhdaa, Mohraa

4) Comparative knowledge of taals of same numbers of beats.

a. Deepchandi – Jhoomraa - Adaa Chautaal – Dhamaar

b. Rupak – Tewraa – Pashto

c. Tritaal, Tilwaadaa, Addha – Punjabi

5) Explanation and knowledge of laya and layakaari and their relation.

6) Principle of the classification of Indian instruments and knowledge.

Second Question Paper:

1) Brief study of the origination of Tabla or Pakhaavaj and its progression.

2) Characteristic and comparison of various Baaj used in Tabla.

3) Detailed knowledge of any on Baaj and

Gharanaas of Tabla or Pakhaavaj with their distinctive playing styles

Tabla: Delhi, Lucknow and Punjab

Pakhaavaj: Kudausinh, Nana Paanse and Naathdwaar

4) i) Importance and position of peshkaar, kaayda, relaa and gat table solo.

ii) Importance and position of relaa, chakradhaar, stuti paran, bolbaant, aadeshi paran in

pakhaavaj playing.

5) To write notations of two damdaar and two bedam tihai in each taal from the following.
1) Tabla: Tritaal, Jhaptaal, Aaada Chautaal

2) Pakhaavaj: Tewraa, Sultaal, Aaditaal

Akhil Bhartiya Gandharva Mahavidyalaya Mandal - VISHARAD PRATHAM TABLA / PAKHAAVAJ

6) Procedure of riyaaz to make balanced playing of baanyu in tabla or Pakhaavaj

7) Autobiography and contribution in music of the following musicians.

a) Us. Salaari khan b) Us. Munir khan c) Pt. Kanthe Maharaj d) Us. Gaame khan

e) Us. Karaamttulah khan f) Inaam Ali khan h) Pt. Purushottamdas Pakhaavaji

i) Pt. Madhavrao Algutkar j) Pt. Sakhramji Gurav.

Practical:

1. Knowledge and experience of tuning tabla and proficiency in recognising madhyam and
pancham from various note (swar) on the harmonium.

2. To be able to recite Rupak, Sultaal, Ektaal, Chautaal, Tritaal and Jhaptaal in thaah, dugun,
tigun and chaugun by hand.

3. Tabla: Vaadan (playing) in Tritaal as follows.

a. Kaayda of Tita – one in tishra jaati and chatshra jaati with four paltaa and tihai

b. Two kaaydaa of Tirakita – with four paltaas and tihai.

c. Rela of Dhin (din) tirakitataka with four paltaas and tihai.

d.Rela of Dhira Dhira bols with four paltaas and tihai.

e.Minimum five bandish (gat tukdaa)

f.Two damdaar and bedam tihai.

Pakhaavaj: Vaadan in following

i. Playing in Chautaal, Dhamaar and Aaditaal as follows

a. Relaa of Padaar, Tishra and Chatushra jaati

b. Playing of stuti paran, gat paran and taal paran


c. Farmaaishi chakradhaar parans and tihaais

4. Procedures of playing following bols and phrases.

Dha tirakitataka tirakita, Dha ti, Dha ge tita, Dhira dhira, Dhinagina (not dhin naa gi naa),

Gadigana, Dhumkita, Dhita dhita dhage tita, Dhet taginna.

5. Melodious and artistic laggis in Keharwa and dadra taal.

6. Tabla:Two kaaydaas in Jhaptaal and Savaari taal(15 beats) – one in tishra and one
chtashrajaati with paltaas, one relaa, two damdaar tihai and four tukdaas.

Pakhaavaj: knowledge of playing Relaa, Tukaas, Parans, tihais in Rudra and Gajjhampaa Taal

7. Accompaniment with vocal and instrument.

8. To be able to play damdaar and bedam tihais from various beats in the previous years
taals.

Manch pradarshan – stage performance

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