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
 
 
 Taal k das praan padhne hai
2
 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