SEMESTER -1, PAPER-1 (Practical)
UNIT-3
a) Practice of producing Bols on respective instrument
b) Teental (solo):-Two Quidas(delhibaj) with paltas and tihai, mukda, tukda,paran
c) Ability to play the following thekas in Barabar, Dugun&Chougun including oral rendering (sam to sam):- Teental, Jhaptal, Ektal, Choutal, Roopaktal, Basant, Dhamartal.
UNIT-4
a) The use of Laggi&Bant in Dadra, Kahawarba, Roopaktal
b) Composition of damdertihai from abovr mentioned tal
c) Preliminary knowledge of tuning of the instrument
SEMESTER -2, PAPER-2
UNIT-3
a) Teental (solo):- 2 quidas (farukhabad) nwiyhpaltas&tihai, tukda, chakradhartukda, paran, gat
b) Ability to play & oral rendering (ekabartan) the following tal in barabar, digun,tigun&chougun:- Sooltal, Teora, Jhoomratal, Rudratal, Shikhartal.
c) Composition of Tihai(bedamder) from above-mentioned tals
UNIT-4
a) Ability to play mukda&tukda from above mentioned tals
b) The use of laggi&bant in Teental, Jhaptal
c) The Chronology (silsila) of table in Solo performance
d) Ability to play 24 beats of Ektaal
SEMESTER -3, PAPER-3
PRACTICAL APPLICATION OF TABLA-3
UNIT-3
a) Playing of different tihais in Teental&Jhaptal (damdar, bedamdar&chakradhar)
b) Padhant& playing of Teental in Adilaya
c) Padhant& playing of Dadra &Roopaktalindigun, tigun, chougun in one abartan
UNIT-4
a) Playing of the following pairs with suitable examples:- Quida-Rela, Gat0 Paran, Laggi- Ladi
b) Solo performance of Jhaptal- PeshkaR, Quida, Tukda, Paran, Chakradhar
c) One Quida with paltas&tihai in Teental from AjradaGharana
SEMESTER -4, PAPER-4
PRACTICAL APPLICATION OF TABLA-4
UNIT-3
a) Apply the bol in South Indian tal& changed within five Jatis& also play by showing talikhali
b) Padhant& playing of Jhaptal within the same duration of Teental
c) Playing of five Kirtanangiyatala in Sreekhol
d) One Lucknowquida of Teental with paltas&tihai
UNIT-4
a) Padhant& playing 0f 5 RabindrikTala
b) Playing of Gat, Gat-Quida, Gat (with tihai&wiyhouttihai), Manjader gat
c) Composition of mukda with variation of different bols& how to accompany with Vocal
d) Solo performance of Ektal – quida with paltas, tukda, paran&chakradhar
SEMESTER -5, PAPER-5
PRACTICAL APPLICATION OF TABLA-5
UNIT-1
a) Knowledge of the following talas in details:- Rudra,Mani, Fordost, PanchamSwari
b) How to accompany with tabla in different layas (talferta) used in RabindraSangeet
c) Composition of chakradhartukda¶n in the above-mentioned tals
UNIT-2
a)Practical accompaniment with string instrument
b) Lahara in Ektaal with Peshkar, quida, tukda, &chakradhartukda
c) Knowledge of kamali&formaishichakradhar
UNIT-3
a) Padhant& playing of the following pairs:-tihai- chakradhar, peshkar-quida, dupalli- dwipadi
b) Playing of rela in Roopaktal m&Jhaptal(advanced)
c) Knowledge of making Bedamdartihai
UNIT-4
a) Padhant& playing of any taal from syllabus in tigin&chougunlayain one abartan
b) The use of Laggi&Ladi
c) Playing of vilambit theka that played in BadaKHeyal
SEMESTER -6, PAPER-6
PRACTICAL APPLICATION OF TABLA-6
UNIT-1
a) Compare study of the following pairs – Dhamar- Ada choutal, Tilwada- Teental, Rudra- Mani
b) Practical accompaniment with Kheyal, Dhamar& Bengali songs
c) Tuning of your instrument properly
UNIT-2
a) Knowledge of accompaniment with Dance
b) Knowledge of Adi, Quida&Biadilaya in Rudra,Dhamar&Tilwada
c) Production of different sound in table other than selected bols you learned
UNIT-3
a) Practical experience of accompaniment with RabindraSangeet, Bhajan, Gazal
b) Playing of KholwiyhBoul&kirtanangiya songs
c) Playing of Jhaptal in different layas asked by the expert
UNIT-4
a) Composition of Quida&Rela
b) Playing of TablawiyhThumri& Dadra
c) Knowledge of the entire syllabus you learned so far