Overview:

Tabla is regarded as the queen of drums and percussion instruments and is the most popular Indian Rhythm Instrument. Playing this instrument involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds and rhythms.

  • Certification: Prayag Sangeet Samiti
  • Twice A Week Class
  • Class Duration: 1 Hour
  • Semester Duration: 6 months

Sem 01:

  • Description of Tabla and its origin
  • Introduction to all basic Tabla Bol
  • Playing of Tabla Bol and recognition of its sound


Sem 02:

  • Meaning of Taal
  • Meaning of Kayda
  • Meaning of Laya


Sem 03:

  • Knowledge of Taal,Dadra, Teentaal & Keherwa
  • Vilambit Ttheka of Teentaal
  • Two Qayade with four Palte each: Tit & Tirkit

Sem 101:

  • Laya Gyan: Knowledge of rhythemic speed
  • Demonstrating Taal with hand signals – marked bars & playing on the tabla
  • Learning & playing the Tthekas of Teentaal, Jhaptaal, Ektaal, Chartaal & Dadra both in basic and double tempos
  • Theory topics:
    Knowledge of 10 VARN of the Tabla, Complete familiarity with Taals & Tthekas of the Taals prescribed, write the Taal according to Vishnu Digambar or Bhatkhande system of notation, both in the basic & double speed, specifying beats, bars, Sum, Khali and Taali, etc.
 

Sem 102:

  • Two easy Qayade with four Palte each
  • Two Mohara
  • Two Tihai
  • Two easy Tukure in Teentaal
  • Theory topics:
    Notations of Tukure, Paran & Mohre
    Definition & knowledge of the following terms:
    Taal, Maatra, Laya ( Vilambit, Madhya & Drut Laya)
  

Sem 103:

  • Two different Qayade with four Palte
  • Two short Tukure in each Jhaptaal, Ektaal & Chartaal
  • Some variation in Dadra Taal
  • Theory topics:
    Defination and knowledge of following termts:
    Vibhaag, Sum, Taali / Bhari, Khaali, Avartan, Tthaah, Dugun, Chaugun, Ttheka, Bol, Qayada,
    Palta, Tihai, Mohara, Mukhra, Tukra, Qismein (Varieties)


Sem 201:

  • Laya Gyan: Demonstrating basic, double & quadruple speeds on the Tabla
  • Playing of Ttheka of Roopak, Sool taal, Tivra, Deepchandi, Keherwa & Tilwara Taal on the tabla & reciting the Tthekas with clap, no-clap, - marked bars in basic and double & quadruple tempo.
  • Barring Keherwa, two Mukhre, two Tihai & two easy Tukre in these Taal. Theka variations in Keherwa Taal
  • Theory topics:
    Definitions with comments on Sound, Kinds of Sound, Origin of Sound
 

Sem 202:

  • Two difficult Qayade with four Palte each, different from the ones of the 1st Level
  • One easy Rela, Ttheka variations
  • One presentable Mukhra
  • One easy Tukura, Uthan, Mohra, Tihai & Paran all in the Teentaal
  • Theory topics:
    Definition and knowledge of following terms: Uthan, Sangat, Solo performance (Swatantra – Vadan)
  

Sem 203:

  • One easy Rela, Ttheka variations
  • One easy Mukhra, Tukura, Uthan, Mohra, Tihai & Paran all in the Teentaal
  • Some varities of Theka in Jhaptaal, Ektaal & Chartaal with two presentable Mukhre, uthan, 2 Mohare, 2 Tiya & 2 Tukre
  • Two Qayade with two Palte each in Jhaptaal & Ektaal. Other varities of Dadra.
  • Biography of any famous Tabla player of the modern period
  • Significance of Tabla in Music


Sem 301:

  • Some advance knowledge of rhythmic speed clap – marked recital of double, triple, quadruple and Aad speeds, uttering digits of beats
  • Ability to tune the tabla
  • Elemententary practice in Sangat of Vocal songs
  • Special Attention on clarity and speed. Preparation of new and presentable Mukhra, Mohra, Tihais, Qayadas, Palte, Rele, Tukare, Parne Theka- varieties and easy gats in Teen-Taal
  • Definitions & topics:-
    *Sangeet, Gat, Aad, Baat, knowledge of parts of Mirdangam including the purpose of putting dough on one side, comparison of Tabla and Mridangam, their detailed history and the system of their tuning.
    *Various Baaj of tabla. Study of Jati, definitions of Tistra, Chatastra, Mishra, Khand & Sankeern Jati, Shruti, Swar, Kinds of Swar ( Chal, Achal, Shuddh, Vikrit)
    *Aaroh & Avroh
 

Sem 302:

  • New and nice Mukhre, Mohre, Tihai, Theka- varieties, Qayade – Palte, two Rela and two big Paran each in Jhap Taal, Ektaal and Chartaal ( No Qayade – Palte in Chartaal). Some good varieties of Ttheke and two Tihai each in Dadra and Keherwa Taal, Two new Mukhre, Mohre, Tihai, Tukre and Paran each in Sool Taal and Tivra Taal.
  • Study of the good and bad points of Tabla and Mridangam players as described in the Shastr
  • Knowledge of the parts of alphabets of Mridangam for Tabla student
  

Sem 303:

  • New – Taal: Aada Chartaal, Dhamar, Dhumali, Jhoomra, Jat – Ability to recite Ttheke of these Taal with clap-marked bars, also in basic, double and quadruple speeds and to play these Taal with clarity in the basic speed, on the Tabla. Ability to recite the Taal –Ttheke prescribed in the earlier years with clap-marked bars in the basic, double and quadruple speeds. Two Qayade, two Tukre, one Paran, two Tihai each in Aada Chartaal, Dhumali, Jhumra and Jat Taals have to be executed. Saath Sangat two tihais, two Paran and Lapet each have to be practised on the Mrindangam in Dhamar, Teevra and Sool Taal
  • Definitions & topics: Tistra
  • Brief biographies of Ustad Ahmadjan Thirkawa and Kanthe Maharaj
  • Essays on subjects allied


Sem 401:

  • Some advance knowledge of rhythmic speed clap – marked recital of double, triple, quadruple and Aad speeds, uttering digits of beats
  • Ability to tune the tabla
  • Technique of tuning the Tabla and practice in sangat in easy Taal of songs and Gat as also solo performance to the accompaniment of Lahra.
  • Teentaal Vilambit Theka
  • Teentaal Peshkar
  • Teentaal – Special finish & rapid performance of these Taal precribed earlier with some learning ahead , for example – presentable Theka varieties, Mukhra, Uthan, Tihais, Mohre, Qayade – Palte, Rele, Tukre, Parans, Gate, Chakkardar Tukde & Tihai of different beat-length.
  • Theory Topics:
    *Knowledge of recording notation of Taal prescribed this year and the years before alongwith various rhythmic speeds like double, triple, quadruple, Aad and Kuaad, etc. Candidates must be fully prepared with writing Taal notation of various kinds of Qayade, Tukde, Parans, etc. In accordance with the systems of both Pt. Bhatkhande andPt. Vishnu Digambar Paluskar.
    *Detailed and comapritive study together with all merits and demerits of the Taal-notation-system of both Pt. Vishnu Digambar and Pt. Bhatkhande.
 

Sem 402:

  • Jhaptaal Vilambit Theka
  • Jhaptaal Peshkar
  • Jhaptaal – Special finish & rapidperformance of these taals precribed in the earlier with some learning ahead , for example – presentable Theka varieties, Mukra, Uthan, Tihais, Mohre, Qayade – Palte, Rele, Tukre, Paran, Gat-types, Chakkardar Tukde & Tihai of different beat-length.
  • New Taal: Pancham Sawari, Tappa, Addha, Punjabi, Gaj-Jhampa, Matta, Ability to play Theke of these Taals in slow tempo (Vilambit) speed only and Vocally demonstrate the Taal-Theke with clap-marking
  • Theory Topics:
    *Ability to calculate starting points of double, triple quadruple, Aad and Kuaad, etc. Speeds in various Taal-Tthekas and recording those speeds in Taal-notation
 

Sem 403:

  • Ektaal Vilambit Theka
  • Ektaal Peshkar
  • Ektaal – Special finish & rapid performance of these Taal precribed in the earlier semesters with some learning ahead , for example – presentable Theka varieties, Mukhre, Uthan, Tihai, Mohre, Qayade – Palte, Rele, Tukre, Paran, Gat, Chakkardar Tukde & Tihai of different beat-length.
  • Sooltaal & Teevra Taal – some good Mukhre & Tukra
  • Theory Topics:
    *Comparitive study of Taal having the same number of beats
    *Detailed study of all terms defined in the earlier years together with their practical significance, also of Peshkar, Sath- Sangat


Sem 501:

  • High proficiency in Laya Gyaan. Practice in playing various Taals on the Tabla in very slow, medium and ultra fast speeds to the accompaniment of songs, Gats and Lahras. Knowledge of some difficult Layakaris and ability to demonstrate them orally with clap markings, such as 5 beats in 4 (1 ¼ times the baisc speed), Aad, Kuaad, Beaah. Skill in tuning the Tabla.
  • Shikhar & Brahma Taal: Telling clap – marked Thekas, playing them on tabla
  • Theory Topics:
    *Ability to record –Taal – notation of all prescribed Taal, Tukre & Paran etc. In all speeds.
    *Improviszation of new Tukras on varying beat lengths. Ability to calculate commencement points of various speed- movements.
 

Sem 502:

  • Special preparedness in playing the Taal precribed in the earlier years, on the Tabla or the Mridangam. Ability of presentable Solo performance on any of these two instruments.
  • Rudra & Laxmi Taal: Telling clap – marked Tthekas, playing them on tabla
  • Theory Topics:
    *Comments on Taan, Aalap, Jor, Jhala, Dhrupad, Dhamar, Khayal, Thumri, Tappa, Gats of instrumental music and their varieties like Maseetkhani and Razakhani Gat
    *Comparative study of Taal of even and odd matras (Sampadi & Vishampadi)
 

Sem 503:

  • Knowledge of the initial placement of the hand and its use on the Mrindanga is expected of Tabla students and vice – versa.
  • Gaj Jhampa Taal: Playing easy Tukre, Paran etc
  • Theory Topics:
    *Comparative study of various prevelant Taal – notation systems
    *Comparative study of Taals of identical number of beats


  • Sem 504:

    • Matt Taal: Playing easy Tukre, Paran etc
    • Knowledge of Sangat (accompaniment) with prevalent system of singing and various styles of playing string instruments.
    • Theory Topics:
      *Ability to write essays on topics, generally connected with music and Laya, Taal, Avanaddh Vadya


Sem 601:

  • TeenTaal, Jhaptaal & Ektaal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
  • Indepth practice of orally demonstrating various Taal and their Tukre in different rhythmic speeds, also with clap-marking
  • Theory Topics:
    *Comparative study of the study of Tabla-playing styles of various Gharanas of the Eastern & Western Baaj(Styles). Searching study of the styles of Sarvasri Kodau Singh, Khabbe Husain, Nana Panse & Parvat Singh. Difference between bols of the Tabla & Mridangam. Difference in the styles of Sath, solo playing and detailed account of their modes of performance. Art of Sangat. Suggestions for improvment in percussion instruments. Famous tabla players and their specialities. Relation between Swara and Laya. Place of Taal in Western Music along with Source-instruments of taal. Best system of Taal-notation. Study of western beat and rhythmic systems. Basic knowledge of the Western Taal System.
 

Sem 602:

  • Ada Chartaal, Dhamar, Pancham Sawari: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
  • Proficiency in solo-performance
  • Demonstration, both by clap makring and playing on the Tabla,T theke of Qaid-farodast, Kumbha
  • Theory Topics:
    * Knowledge of Chhand and Pingal Shastr
    * Definitions of Swara Vistar, Bol-Bant, Bahlawa, Chaturang, Tarana and Tirarvat
 

Sem 603:

  • Chartaal, Sooltaal & Gaj jhampa Taal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
  • Demonstration, both by clap makring and playing on the Tabla, Tthekas of Basant, Sawari Taal.
  • Detailed study of the taals precribed in earlier courses, cultivation of new, difficult and presentable Bol and Paran and ability to distinguish special compositions of different Gharanas in various Taal, are expected of the candidates.
  • Theory Topics:
    *Ability to write essays on general topics of music, Taal and Laya
    *Biographies of well known Tabla and Mridangam players and critical study of their styles of playing


  • Sem 604:

    • Tevra, Roopak & Lakshmi Taal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
    • Tuning of Tabla: .....
    • Learning some quality Mohre, Ttheka varieties of Taal prescribed in the 4th, 5th & 6th level
    • Theory Topics:
      *Detailed and comparative study of all definable terms and topics prescribed in the First to the Sixth Year courses
      *Study of and suggestions for popularizing less prevalent Taal prescribed in the first to the Sixth Year – courses
      *Complete knowledge of recording all the Taal prescribed in the earlier years alongwith other cultivated material, in accordance with Bhatkhande and Pt. Vishnu Digambar systems.
      *Comparative study of all Taals prescibed so far
      * Complete knowledge of notation of Taal in various rhythmic speeds
      * Comparative study of the North and South Indian Taal – system
      * Knowledge of the staff notation systems
      * Knowledge of some Bol and Tore of dance
      * Knowledge pf Sangat of different kinds of music on suitable percussion instruments


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