Parans
and
Advance
Composition
in
Khand,
Tisra,
Misra
Jatis.
2.
The
following
Talas:-
Basant,
Brahma, Laxmi,
Vishnu, Ganesh
And Mani
with the
ability to perform
on them,
Four Sada
Tukdas, Two
Chakradar Tukdas
- Four Sada
Parans, Two
Kamali Chakradar
Parans, Two
Mukdas and
Two Relas in each Taal.
3.
Ability
to play
the Theka
of Trital
in Barabar,
Dugun, Tugun,
Chaugun and Adi
Laya.
4.
Perfect
Tuning
of
the
instrument.
5.
Ability
to play
the Thekas
of all
prevalent Talas
in Vilambit
Laya and those
Talas that
are played
with String instrument
and Drut Khayal and Tarana
6.
Perfect
Padhant
of
all
the
Talas
and
Bols
learnt
in
any
given
Laya.
TABLA
NIPUN
PART- I
PRACTICAL
M.M.-200
Revision
of
the
Previous
Course.
1 Comprehensive Study of Trital, Jhaptal,
Ektal and
Adachartaal with
Delhi
Peshkar,
Quidas,
Paltas,
Gats,
Tukdas
and
Relas,
two
in
each
in the style of Delhi
and Ajrala Gharanas.
2
One
Gat
in
Adilaya
and
Tisra
and
Mishr
Jati
in
each
Taal.
3
Two
Mukhdas of
advance pattern
in each Taal and
in different
layakaris.
4
Tihai
(Both
Damdar
and
Bedam)
in
all
the
prescribed
Talas.
5
One
manjhedar
Gat
in
each
Taal.
6
Padhant
by beat
of hands
of the
Thekas of
all the Prescribed
Talas with Quidas, Gats,
Tukdas etc.
TABLA
NIPUN
PART
II
PRACTICAL
M.M.-200
Revision
of
the
Previous
Course.
1
Compresive study of Trital, Roopak, Sool, Sawari and Dhamar with Delhi Peshkars, Quaidas,
Paltas, Gats,
Tukdas and
Relas two
each in the style of
Ajrala and Farrukhabad Gharanas.
2
One
Gat
of
Kuwadi
laya
and
Khand
and
Chatsra
Jati
in
each
Tala.
3
Two
Mukkhdas or
advance pattern
in each
Tala and
in different
Layakaris.
4
Tehai
both
Damadar
and
Bedam
in
all
the
Prescribed
Talas.
5
One
Kamal-ki-Gat
and
one
Farmaishi
Gat
in
each
Talas.
6
Padhant
by beat of hands of all the Prescribed Talas with Quidas Gats.
Mukhdas etc.
TABLA
NIPUN
PART - III
PRACTICAL
M.M.-400
Note:
There
shall
be
no
Theory
paper
in
Nipun
Pt.
III.
Practical
will
be
in
two
parts.
A
STAGE
PERFORMANCE
M.M.-200
(Duration will
be decided
by examiner)
Demonstration and questionnaire of
the following
Talas:
Trital,
Rupak,
Jhaptal,
Ada-Chautaal,
Basant
and
Rudra.
B
VIVA-VOCE
M.M.-200
The
examiner
will
examine
the
candidates
on
the
following
Topics:-
1
Gharana-Bajj
and
their
comparison.
2
Formation
of
Tihais
on
spot.
3
Different
kinds
of
Gats
with
examples.
4
Different
kinds
of
Chakkardars
with
examples.
5
Demonstration of complex layakaries-Adi, Kuadi, Biyadi and Paungun of various
Talas Thekas
and speaking
each of
them in
one and the
same time
cycle.
6
Knowledge
of
Jatis
-
yati
&
Grah.
PAKHAWAJ
PRATHAMA (FIRST
YEAR)
PRACTICAL
M.M. 200
1.
Description
and
study
of
the
various
parts
of
Pakhawaj.
2.
Technique of
the instrument (Pakhawaj) concerned
and how
to produce syllabus (Varnas) on it individually and jointly.
3.
Ability
to
play
in
the
following
Talas:-
a.
Choutal
:
Two
easy
Parans,
Two
Relas,
Two
Tihai.
b.
Sooltal
:
Two
easy
Parans,
Two
Relas
&
Two
Tihai.
4.
Non Detail
:
Ektaal,
Adachartal, Dhamar,
Teevra,
Jhaptal,
Kahrwa & Dadra.
Ability to play (By
hand), all the
Thekas
of
above
Talas
in
Thah
and
Dugun
Laya
showing Tali-Khali.
5.
Ability
to play
the Thekas
of Dhamar
and Teevra
in Thah,
Dugun and Chougun
Laya.
Note
:-
There
shall
be
no
Theory
paper
in
Prathma-Part
I
(Pakhawaj).
PAKHAWAJ
PRATHAMA
PRACTICAL
M.M.-200
Technique
of
producing
the
basic
syllabus.
PRESCRIBED TALAS:-
(A)
DETAIL:
Choutal,
Dhamar,
Sooltal.
(B)
NON-DETAIL
Teental,
Teevra, Kaharwa,
Dadra.
?
Two
easy
Parans
in
each
of
the
Talas
in
Category
'A’
?
Two
Relas
in
each
of
the
Talas
in
Category
'A’
?
Ability
to
play
the
Thekas
and
their
variations
of
the
Taals
in
Category
'B'
?
Ability
to
play
the
"Dugun,
Tigun
and
Chougun
of
all
the
prescribed
Talas
?
Simple
Tihais
in
all
the
prescribed
Talas.
?
Padhant
of
all
the
Thekas
of
the
prescribed
Talas
and
their
compositions
?
Elementary
knowledge
of
Tunning
the
instrument.
PAKHAWAJ
MADHYAMA
PART- I
PRACTICAL
M.M.-200
Revision
of
the
Previous
Course.
1
Detailed
study of
the following
Talas:-
Sawari,
Matt,
Gajajhanpa
and
Chautal.
2
Padhant
in
Thah,
Dugun
and
Chaugun
of
the
prescribed
Talas.
3
Phrases
of
Dhumkit
and
their
use
in
all
the
prescribed
Talas.
4.
One
Mohra
in
each
of
the
prescribed
Talas.
5.
Two
Sada
Parans
in
each
of
the
prescribed
Talas.
6
One
Chakradar
Paran
in
each
of
the
above
prescribed
Talas,
7
One
Rela
in
each
of
the
above
prescribed
Talas.
8
One
Tisra
Jati
Ki
Paran
in
each
Taal.
9
Simple
Tihais
in
each
Taal
(Bedam
and
Damdar)
10
Padhant
of
all
the
Talas
and
Bols
learnt.
PAKHAWAJ
MADHYAMA
PART
- II
PRACTICAL
M.M.
200
Revision
of
the
Previous
Course.
1.
Detailed
study
of
the
following
Talas:-
Chautal,
Dhamar, Basant
(9
matras)
&
Matt
(18
matras)
2.
Padhant
in
Thah,
Dugun,
Tigun
and
Chaugun
of
the
prescribed
Talas.
3.
Phrases
of
Dhumkit
and
their
use
in
all
the
prescribed
Talas.
4.
Three
Sada
Parans
in
each
of
the
prescribed
Talas.
5.
One
Chakkardar
Paran
in
each
of
the
prescribed
Talas.
6.
One
Rela
in
each
of
the
prescribed
Talas.
7.
One
Tisra
Jati
Paran
in
each
Taal.
8.
Tihais
in
all
the
prescribed
Talas
(
Bedam
and
Damdar).
9.
Sath-Paran
in
any
one
of
the
prescribed
Talas.
10.
Padhant
of
all
the
prescribed
Talas
and
Bols
(Compositions)
PAKHAWAJ
VISHARAD
PART- I
PRACTICAL
M.M.-200
Revision
of
the
Previous
Course.
1
Detailed
study of the
following Talas with advance compositions: Shikhar, Rudra,
Yati-Shikhar, Dhamar and Chautal.
2
Padhant
in
Dugun,
Tigun
and
Chaugun
of
the
prescribed
Talas.
3
One
Chakradar
and
Two
Sada
Parans
in
each
of
the
prescribed
Talas.
4
One
Adilaya-ki-Paran
in
each
of
the
prescribed
Talas.
5
Tihais
in
all
the
prescribed
Talas
(Bedam
and
Damdar).
6
Badhaiya-ki-Paran
in
any
two
of
the
prescribed
Talas.
7
Sath-Paran
in
any
of
the
prescribed
Talas.
8
One
Rela
in
each
of
the
prescribed
Talas.
9
Padhant
of
all
the
prescribed
Talas
and
Bols
(Compositions)
PAKHAWAJ
VISHARAD
PART- II
PRACTICAL
M.M.-200
Revision
of
the
Previous
Course.
1
Detailed
study
of
the
following
Talas
with
advance
compositions:
Basant, Brahma, Laxmi, Ganesh, Vishnu and Mani.
2
One
Chakradar
and
Two
Sada
Parans
in
each
of
the
above
Talas.
3
Knowledge
of
Jatis,
Yati
and
Grah
4
One
Adilaya-ki-paran
in
each
of
the
prescribed
Talas.
5
Sath
parans
in
all
the
prescribed
Talas.
6
One
Mukhada
or
Mohara
in
each
of
the
prescribed
Talas.
7
Advance
Tihais
in
all
the
prescribed
Talas.
8
Perfect
tuning
of
the
instrument.
9
Padhant
of
all
the
prescribed
Talas
Bols.
PAKHAWAJ
NIPUN
PART- I
PRACTICAL
M.M.-200
Revision
of
the
Previous.
Course.
1
Details
Study of
Choutal, Dhamar,
Teora and
Sool and
Jhampa with all
variations of Parans e.g. Sath Paran, Gat Paran giving more emphasis
on Panse
Gharana.
2
Paran
in
Kuadi
Laya.
3
Parans
in
Tisra
and
Misra
Jatis.
4
Bedam
and
Damdar
Tihais
in
different
Layas.
5
Padhant
of
all
the
Bols
learnt.
6
Ganesh
Paran
in
any
Taal
(Traditional)
PAKHAWAJ
NIPUN
PART- II
PRACTICAL
M.M.-200
Revision
of
the
Previous
Course.
1 Comprehensive study
of Trital,
Laxmi, Jhaptal,
and Shikhar
giving all
varieties of parans e.g. Sath Parans. Gat Parans, Kavit Parans etc.
both sada and Chakradar.
2
Emphasis
should
be
given
to
Kudao
Singh
Gharana.
3
Parans
and
Tukadas
in
Viadi
Laya
in
the
Talas
Prescribed.
4
Parans
and
Tukadas
in
Biadi
Laya
in
the
Talas
Prescribed.
5
Top-ki-Paran
and
Gaj-paran
in
any
Taal
(Conventional).
6
Padhant
of
all
the
Bols
learnt.
PAKHAWAJ
NIPUN
PART- III
PRACTICAL
M.M.-400
Note:-
There shall
be no
theory paper
in Nipun
Part-III. The
Practical will
be in two
parts
(A)
STAGE
PERFORMANCE:
M.M.-200
Demonstration
and
questionnaire
of
the
following
Talas:
Chautaal, Dhamar, Ganesh, Rudra and Lakshmi.
(B)
VIVA-VOCE
M.M.-200
The
examination
will
examine
the
candidates
on
the
following
topics:
1
Gharana-Baj
and
their
comparison.
2
Formation
of
Tihais
on
spot.
3
Different
kinds
of
Gats
with
examples.
4
Different
kinds
of
Yatis
with
examples.
5
Different
kinds
of
Chakradaras
with
example.
6
Demonstration of complex layakaries-Adi, Kuwadi, Biyadi and Paungun of various
Taal Thekas
and speaking
them in
one and
the same time
cycle.
TABLA
/
PAKHAWAJ PRATHAMA
THEORY
M.M.-100
(THERE SHALL
BE COMBINED
THEORY PAPERS
OF TABLA
& MRIDANG
FROM-PRATHAMA TO
NIPUN PART
II)
1
A
general
knowledge
of
the
origin
of
Tabla/Mridang.
2
Description
and
study
of
the
various
parts
of
Tabla/Mridang.
3
Technique
of
the
instrument
concerned
and
how
to
produce
syllabus
(Varnas) on it individually and jointly.
4
Difinitions
of
the
following
terms:-
Sangit, Tat Vadya, Avanadha Vadya, Ghana Vadya, Bhari, Tali, Vibhag.
Avartan, Theka, Vilambit, Madhya, Drut, Barabar, Dugun, Tigun,
Chaugun.
5
Difinition
of
the
following
terms:
Quida,
Gat,
Mukhada,
Rela, Tihai,
Tukda,
Paran
Mohara,
Bol,
Palte.
6
Method
of writing
in notation
all the
prescirbed Talas with
their Thekas and Bols.
7
Life
sketch
of
great
exponents
of
Tabla/Mridang.
TABLA
/
PAKHAWAJ
MADHYAMA PART- I
THEORY
M.M.-100
Revision
of
the
Theory
learnt
in
the
previous
years.
1
Merits
and
demerits
of
the
Tabla/Pakhawaj
Players.
2
A
general
knowledge
of
the
different
Gharanas
of
Tabla/Mridang.
3
Definition of
the following
terms with
examples Gat,
Sath Paran: Laggi,
Ladi, Paran, Delhi Peshkar, Uthan, Paral, Kamali-Chakradar.
4
The
Talas that
are used
in accompaniment
to the
following styles of
singing:-
Dhrupad,
Dhamar,
Hori,
Bada
Khayal,
Chhota
Khayal,
Thumri,
Bhajan,
Tappa, Geet,
Gazal and
Qawwali.
5
A
general knowledge
of the
other varieties of Taal
Vadhya (Percussion instruments.)
6
Writing
in
notation
of
all
the
Talas
prescribed.
7
Life
sketch
of
any
one
of
the
following:-
-
Wajid
Husian
Khalifa
-
Pt. Sakharam
-
Ayodhya
Prasad
-
Ustad Masit
Khan
-
Ustad
Munir
Khan
TABLA / PAKHAWAJ MADHYAMA
PART
- II
THEORY
M.M.
100
1.
Brief
History
of
Indian
Music.
2.
A
detailed
study
of
the
origin
of
Tabla/Pakhawaj.
3.
A
comparative study of the Different Gharanas of Tabla/Pakhawaj
and Baj
(Styles).
4.
The
Ten
Pranas
of
Taal.
5.
Karnataka
Taal
System.
6.
General
Knowledge of difference percussion instruments of North
India.
7.
Writing
in Taal
Notation in
Adi and Kuadi
Layakaries (Thekas of Prescribed
Talas).
8.
Writing
in
notation
of
all
the
prescribed
Talas.
9.
Life
sketch
of
anyone
of
the
following:-
a.
Kodau
Singh.
b.
Abid
Husain.
c.
Nana
Saheb
Panse.
d.
Pt.
Anokhe
Lal.
e.
Pt. Samta
Prasad.
TABLA
/
PAKHAWAJ
VISHARAD PART- I
THEORY
M/M.-100
1
A
comparative
study
of
the
different
bajs
of
Tabla
or
Pakhawaj.
2
The
Ten
Prans
of
a
Taal.
3
A
detailed
study
of
the
origin
of
Tabla/Pakhawaj
4
Writing
in
Taal
notation
Talas
in
Adi,
Kuadi
and
Biadi
Layakaries.
5
Difinition
of
the
following
terms
giving
examples:-
Prakar of
the prescribed TaaL.
Rau (रौ),
Chala or
Chalan, Misil(मिसिल), Bant (बाटँ) Pench (पेँच), Angushthana (अंगुष्ठाना), Farad (फर्द)
Charbagh (चारबाग),
Dupalli (दुपल्ली).
6
Life
sketch
of
any
of
the
following:
Ustad Ahmad Jhan
Thirakwa, Ustad Habiduddin Khan, Pt. Samta Prasad, Pt. Ambadas & Sri
Parbat Singh.
TABLA
/
PAKHAWAJ
VISHARAD PART- II
THEORY
M.M.-100
1.
A
general
study
of
the
South
Indian
Taal
System.
2.
The
main characteristics of the different Gharanas of Tabla and Mridang
and how to differentiate between them.
3.
Definition
and
knowledge
of
the
following
terms:-
Zarab,
Wazen, Ati
Vilamit, Ati
Drut, Jati
(five kinds)
Yati (five
kinds). Graha, Tipalli, Chaupalli,
Lal Kila,
Lom-Vilom, Ekhatthi Paran
(एकहत्थी
परन)
Gat-Quidas, Gat-Paran,
Navhakka
(नवहक्का).
4
Knowledge of
and difference between the
two prevalent
Taal notation systems: Viz: Bhatkhande and Vishnu Digamber.
5.
A
general knowledge
of the
other North
Indian percussion
instruments (Taal
Vadya).
6.
Tabla
or Pakhawaj as
accompaniment to:
Vocal
Music,
Instrumental
Music
and
Dance.
7.
Tabla
or
Pakhawaj
as
solo
and
accompaniment.
8.
Life
sketch
of
any
of
the
following:
(a)
Abid
Hussain
(b)
Nathan
Khan
(b)
Nana
Saheb
Panse.
(d)
Kodau
Singh
(e)
Bada
Munna
Khan
TABLA
/
PAKHAWAJ
NIPUN PART- I
THEORY
Paper - I
M.M.-100
1
Indian
concept
of
Taal
and
use
of
Taal
Vadya
in
modern
times.
2
Comparative
study
or
ancient
and
modern
Taal
systems.
3.
Critical study of the different Gharanas and styles (Baj) of
Tabla or Mridang.
4
Taal
Prastar
(Mathematical Process)
from a
given numbers
of Materas.
5
Principles
of
solo
performance
and
accompaniment.
6
Comparative
study
of
North
and
Karnatak
Taal
System.
7
The
use
and
importance
of
Chhand
in
Tabla/Mridang
compositions.
8
The
life sketch
and contribution
of great
exponents of
Tabla/ Pakhawaj
Paper-II
M.M.-100
Essay
of
800
words
on
any
Topic
of
music
of
general
interest.
FOR
EXAMPLE:-
1.
Music
and
Society.
2.
Music
and
its
relation
to
other
fine
arts.
3.
Indian
music
in
International
sphere.
4.
Institutional
teaching
of
music
and
Guru
Shishya
Parampara.
5.
Institutional
teaching
of
music
and
Guru
Shishya
Parampara.
NOTE:
Examiner/Paper
setter
can
choose
some
other
similar
Topics.
TABLA
/
PAKHAWAJ
NIPUN PART II
THEORY
Paper -
I
M.M.-100
Revision
of
the
Previous
Course.
1
A
comparative study of Drums used in Western Music and Indian
Taal Vadya.
2
Detailed
study
of
Avnadha
Vadhya
as
given
in
"Sangit
Ratnakar".
3
A
brief
study
of
the
Tala
Adhyayas
of
Sanskrit
Granthas.
4
Critical Analysis
of different
terms used
in Tabla/Pakhawaj
compositions giving
examples.
5
Aesthetics
and
Stage
performance
in
Indian
Classical
Music.
6
The
relation
between
Chand-Laya.-Taal-Ras.
7
Different
kind
of
Yatis
with
examples.
8
The
use of
Sam and
Visham Graha
and its
importance in
accompaniment.
PAPER-II
M.M.-100
Essay
of
800
words
on
any
Topic
of
music
of
general
interest.
FOR
EXAMPLES
1.
Experimentalism
in
music.
2.
Indian
music
and
spirituality.
3.
The
concept
of
Fusion
of
Indian
and
Western
Music.
4.
Role
of
artist
in
National
Integration.
Note:
Examiner/Paper
setter
can
choose
some
other
similar
Topics.
Instrumental