ABGMV Tabla Syllabus Praveshika Pratham

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Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Second Year Tabla Examination ----------------------------------

Distribution of MarksPlaying said Taals in Single / Double : 10 Marks Definations, showing Taals on hand with clap / khali : 10 Marks

Praveshika Pratham---------------------------------Total Marks: 75, Minimum: 26 Practical: 60 marks, Theory: 15 markswww.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Explanation of parts of Tabla and Baya

: 5 Marks

Presentation in TeenTaal

: 25 Marks

Presentation in JhapTaal

: 20 Marks

Over all Presentation

: 5 Marks

================================================== Total : 75 Marks

======================www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

TheoryDefine the following Terms Sangeet aad Swar Lay Bol Theka Kism Kayda Mukhda Tihaai Tigun Chaugun Tukda

Syllabuswww.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Recite Roopak & Ektaal in proper tempo and inSingle & dugun(Double) on your hand while showing Taali / Clap & Khaali / Kal. Description of the various parts of a tabla.www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Practical Play Roopak & Ektaal in proper tempo and in Single & Dugun. (Double) Taal Vistaar (Includes Taals from Prarambhik syllabus)

Teental Two Kisms, One Kayda of Dhati, with three paltas, & Tihaai. Two Mukhdas Two Tukdas

Jhaptaal One Kayda of "Tita with three paltas, & Tihaai, One Kism. One Tukda Two , sum-to-sum Tihaai

Definations

Teen Taal & Jhap Taal Presentation must be presented with Lehera Machine. It is assumed that, students are well versed with Prarambhik (First year ) syllabus.www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Music (Sangeet)The three arts of singing, playing of the instrument and the dance, together constitute music / Sangeet.

Syllable / BolThe various syllables (varna-aksharas) or groups of varnas played on the table are called Bol.

ote / SwarThe sound which is of a limited frequency is called a note /swar. The sound (Naad) which is useful for music is called a musical note /swar.

ThekaThat appropriate group of the varnas with which the timecycle (Taal) is expressed is called Theka.

Tempo / LayaThis is an important element of music. We hereby give the following definitions of tempo: Tempo is an equal movement of time. The equal spacing between two activities is labeled as tempo. www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Types / KismasThe various types of the Theka / literally speaking, the types, are known as Kismas.

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

KayadaThat improvisatory composition which has a happy balance of the consonants (swars) and the vowels (vyanjanas), which begins and ends with consonants (swars), and that which has a Khali and Bhari, as well as divisions, is known as a Kayada.

Three-fold tempo / Four-fold tempo (Tigun / Chougun)The bol / time-cycle played in a single tempo and in one Avartan, if played or read thrice is called a three-fold tempo / Tigun; and if played four times, it is known as a four-fold tempo / Chougun.

Tukda MukhadaThe meaning is explicit in the very word Mukhada. The small group of syllables / bol which is played in order to arrive at the Mukh / Sam is called Mukhada. Normally, the Mukhada is played in the last one beat (or a fraction of a beat) in the slow tempo ('Vilambit laya) and it is played in the last two or four beats in the medium tempo (Madhya laya). Most of the pre-conceived / fixed compositions are known as Tukdas. Primarily, that group of syllables (bol) which has a Tihai and which has a length of two or three cycles (Avartans) is known as a Tukda. According to some stalwarts, that small portion of a long composition (bandish) which, even if played independently, sounds meaningful, is known as a Tukda.

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

RellahRellah is a type of playing, which begins with consonants (swars) but which ends with vowels (vyanjanas), which comprises of maximum syllables within a span of two beats, which is played in the fast tempo, which creates a chain-like link of Naads and which is less improvisatory in comparison with the Kayada.

LaggiThe various types played in the double tempo of light (nonserious) time-cycles such as the Dadra / Keharva, are known as Laggi / Laggi-Naada.

UthaanUthaan has been derived from the Hindi verb, Uthnaa. Uthaan implies the composition that is played at the beginning of the performance / playing session. This composition is also presented during a performance of the Kathak dance. The table-players of the Banaras Gharana begin their solo performance with an Uthaan.

PaltaaThe word Palatnaa in the Hindi language means to change. Paltaas are those through which or with the help of which the improvisatory compositions such as the Kayada or the Rellah are improvised upon.

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

MoharaThat group of syllables (or bol) which is smaller in length than one cycle (or Avartan), is composed of more delicate syllables than the Mukhada and that which arrives at the focal point (sam) is called a Mohara. There is also a custom of terming the important set of syllables in a composition, as a Mohara.

PeshkaarThe Peshkaar is that type of playing which is played with the aid of all the syllables (bol), in various tempi, and which keeps expanding with accents and emphasis at various points, which gives a scope to expression of thoughts, and which improvises mainly via creativity, and which has the Khali, Bhari, and divisions (Khands).

Paran Composition / GatThe Gat is that literary composition in the language of the tabla, which gives us an experience of the various tempi prevalent in nature, which rejuvenates if completed before the focal point, which is with Tihais and which is devoid of the Tihais at times. The Paran is that composition which is comprised of accentfilled, resonance-filled and lengthy syllables, and which generally ends with a Tihai. Paran is a distortion of the word Parna / Paan (which means a leaf).The Paran is just as the leaf of a tree has a main vertical axis, and sub-divisions in the two sides, and hence it derived its present name. The Paran, the Gat Paran, the Bol Paran, the Taal Paran are the various extension of the Paran. In the Paran, we normally encounter bol such as Dhaage-Tite, Taage-Tite, Kirdhaa-Tite, Taake-Tite, primarily. www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Aamad ChoupalliThe literal meaning of Aamad is arrival. The composition of syllables (bol) played at the beginning of the dance is termed the Aamad. According to some stalwarts, the method of arriving at the focal point, or the composition / bandish which gives a premonition of arriving at the focal point with the help of the present composition, is called Aamad. The composition in which there are four classes / types of tempi, is called the Choupalli Gat.

Gat-Kayada TipalliTi +Palli implies three aspects or divisions. This implies that composition in which the three classes of tempo are seen is called Tipalli. We find two views amongst learned men, concerning this. According to the first view, a Tipalli Gat is that which has an interaction of three tempi. According to the second view, not only are there are three different classes of the tempi, but only one group of bol / syllables will end in Dha amongst the three tempi. www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

When the composition of heavy syllables innate in a Gat are played like a Kayada and it is improvised upon, in consonance with the rules of the Kayada, it is known as a Gat-Kayada. This type of composition is found in the Lucknow and the Farukkhabad Gharanas. Although it is an improvisatory composition, yet, the extent of improvisation is much less than in a Kayada. This is because the syllables (bol) used in this composition are the heavy syllables (bol) of the Gat, and these are hardly playable in the high tempo.

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

RoopakBeats Divisions Claps Kal/ KhaliTin 1 Dhin 4 Dhin 6

Tal Vistar Roopak:7 : 3 (3+2+2) : 2 (4-6) : 1 (1)Tin 2 a | 5 a | 7 a | 3

Beats Divisions Claps Kal/ KhaliTin 1 Dhin 4 Dhin 6

:7 : 3 (3+2+2) : 2 (4-6) : 1 (1)Tin 2 a a | 5 a a | 7 a a | 3

Roopak is Exceptional Taal in which the 1st beat is Kal / Khali

Roopak is Exceptional Taal in which the 1st beat is Kal / Khali

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

EakTaalBeats Divisions Claps Kal/ KhaliDhin 1 Dha 3 Tin 5 Kat 7 Dha 9 Dhin 11

Tal Vistar EakTaalBeats Divisions Claps Kal/ KhaliDhin 1 Dha Ge 3 Tin 5 Kat 7 Dha Ge 9 Dhin 11

: 12 : 6 (2+2+2+2+2+2) : 4 (1-5-9-11) : 2 (3-7)Dhin | 2 Tra K| 4 a | 6 Tin | 8 Tra K | 10 a | 12

: 12 : 6 (2+2+2+2+2+2) : 4 (1-5-9-11) : 2 (3-7)Dhin | 2 Ti R Ki T | 4 a a| 6 Tin | 8 Ti R Ki T | 10 a a| 12

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Teen Taal PresentationLehera Speed 60www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Vilambeet TeenTaalClaps Kal/ KhaliDha T 1

: 3 (1-5-13) : 1 (9)Dhin T 2 Dhin Dhin 3 Dha | 4

Dha T 5

Dhin T 6

Dhin Dhin 7

Dha | 8

Dha T 9

Tin T 10

Tin Tin 11

Ta| 12

Ta 13

T

Dhin T 14

Dhin Dhin 15

Dha| 16

www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Kayada : Dha Ti Vilambeet TeenTaal - Kism 1 :Single speed - Main Theme (One time)Dha T 1 Dhin T 2 Dhin Dhin 3 Dha Dha Ti T| 4

Dha Ti a Dha

Dha Ge Ti R Ki T Dha Ge Ke a

Dha Ge Ti R Ki T 5

Dhin T 6

Dhin Dhin 7

Dha Dha Ti T | 8

Dha Ti Tin a

Dha Ge Ti R Ki T 9

Tin T 10

Tin Tin 11

Ta Ta Ti T| 12

Kal / Khali : Ta Ti Ta Ke Ti R Ki T Dha Ge

Ta Ke Ti R Ki T 13

Dhin T 14

Dhin Dhin 15

Dha Dha Ti T | 16

a Ta Dha Ti

-----------------------------------------------------------------------------

Dhin a Ge a -----------------------------------------------------------------------------

Claps : 3 (1-5-13)

Kal/ Khali : 1(9)

Claps : 3 (1-5-13)

Kal/ Khali : 1(9)

----------------------------------------------------------------------------www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

----------------------------------------------------------------------------www.tablaniketan.com7844 Mcclellan Road Cupertino CA 95014 408-873-8479

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Akhil Bharatiya Gandharva Mahavidyalaya Praveshika Pratham Teen Taal & Jhap Taal presentation must be with Lehera Machine

Var :1 Main Theme Double Speed 2 times : Dha Ti Dha Ge Dha Ti Dha Ge [Dha Ti Dha Ge Dha Ti Dha Ge a Dha Ti R Ki T Dha Ti Dha Ge Tin a Ke a Dha Ti Dha Ge Ta Ti Ta Ke Dha Ti Dha Ge a Ta Ti R Ki T Kal / Khali : Dhin a Ge a] X 2 Ta Ti Ta Ke ----------------------------------------------------------------------------a Ta Ti R Ki T a Ta Ti R Ki T a Dha Ti R Ki T Dhin a Ge a Tin a Ke a a Dha Ti R Ki T a Dha Ti R Ki T a Dha Ti R Ki T

Claps : 3 (1-5-13)

Kal/ Khali : 1(9)

Ta Ti Ta Ke Dha Ti Dha Ge Dha Ti Dha Ge

-----------------------------------------------------------------------------

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