Visharad Purna level - 7

                          Vishard Purn
                       Tabla-Pakhawaj
Total Marks: 400 , Min: 180
Theory:250 , (verbal:200 + stage performance: 50 ) 
            min:128
Science : 150 Min : 52 ( 26 + 26 )
first question paper
Theory :-
1)    Detailed study of Pandit Bhatkhande and Pandit
    Paluskar Tal script systems.
2)    A brief study of the ten prans of the rhythm and a
detailed study of Kriya, Anga, Jaati and Yeti.
3) Study of Karnataka and North Indian rhythm system.
4) Comparison of classical instrumental instruments with
     classical instruments in Indian music.
5) Knowledge of the difference between Laya and Laykari 
    and in the following talas the bandish of Aad, Kuad and
    B.Ed Laikri in sam to sam tala script
    
 Write.
(1)    Trital (2) Jhaptal (3) Dhamar (4) Sultan

6) Explanation of the following terms with examples:
       Utthan, Tripalli and Chaupalli Gatta, Farmaishi Gatta,
       Farmaishi Chakradhar, Kamali Chakradhar, Rela ,
       Laggi, Ladi and kisme.
7) Description of the following instruments used in Indian
    Classical Music, Sugam Sangeet, Folk Music:
        Tanpura, Harmonium, Pakhawaj, Mridangam,
        Dholak, Dholki (Naal), Khol, Sambal, Gudum, Ektara,
        Tavil, Shehnai.

second paper
1)    The importance and utility of the tabla/pakhawaj 
instrument in Indian music and the prevailing variation in relation to the origin of tabla/pakhawaj review.
2)    (Dha) Peshkar, Qaida, Rela and Gatta, the composition 
principles of these instruments.
      
 (Dhi) The composition principles of these types of 
 instruments on contract, Prastar, Rela and Gat.
3)    Detailed information on the extraction of characters  used in Tabla and Pakhawaj playing.
4)    Study of principles of accompaniment of Tabla/Pakhawaj with Classical, Sub-Classical and Sugam music.
5) Information about the different Gharanas of Pakhawaj.
6) The playing characteristics of the Ajrada, Farukhabaz
    and Banaras Gharanas.
7) solo tabla playing :-
      (a) Sequence of presentation of instrument types
      (b) Influence Factors Properties of Presentation
      (a) the need for reading
8 ) Rules of rhythm construction
9) Biography and musical contribution of the following
    players.
Ustad Nathu Khansaheb, Ustad Shambhukhau, Ustad Wajid Hussain, Ustad Abid Hussain, Ustad Chudiya Imam Baksh, Pandit Govindrao Vanhanpurkar, Pandit Parvat Singh, Pandit Ayodhyaprasad.



functional :
(Students of Tabla):-
1) Playing as follows in Tritala
     a) Playing the Peskar of Delhi or Farukhabad Gharana
         in detail.
      b) Playing each of the rules containing the word 'Trak'
          and the rules of Tisra caste with six flips and thirds.
a)    'Dhatang Dhetang' A qaida of the Tisra jati
 containing this word group, playing with six paltes and tihais.
      e) Playing with the words 'gege teet' or 'gege nage',
          with six inverted tihais.

(Students of Pakhawaj)
a)    Reading of 2 - 2 restrictions of Kadousingh and Nana
Panse Gharana in Chautal, Dhamar, Sutal, Teewara,   Adital and
 Playing
b)    Dhirdhir and Dhidkana Rale in any two of the above
  talas, playing the plate with the requisite
  preparation.
a)    Playing of one Kamali Chakradhar Paran in the above mentioned talas.
c)    Playing in Adital and Dhamar up to an even number 
of two breathless thirds and 1.5 volumes.
2) Rela :-
        a) Playing of the train containing the word 'Dhiradhir'
            in the required preparation with five pallas and
            thirds.
b)    Five palates containing the word 'Dingang', 
playing with thirds.
3) Gatt :-
         Playing of two pure cardboard (including thirds), two
         wheeled cardboard and two tripalli cards with
         reading.
4)Tihai:-
          two-breathed and two 1.5-volume instrumental
          instruments
5)    Reading and playing of the following rhythms with the help of two hand rhythms :-
              Ektal, Jhumra, Sultan, Dhamar
6)    10 minutes of solo playing in any one of the following
 rhythms (Presentation of the instrument as per the instructions of the examiner)
   do:-
      Matttal, Rudratal, Aadachautal
7)    Mixing in tabla/pakhawaj sura, then mixing it up or down.

Stage performance :-
1)    Ability to play free tabla/pakhawaj for 30 minutes as per student's wish.
2)    Beautiful Laggia in Deepchandi, Kaharwa or Dadra Tal.





Marksheet:
Notice: 1) Each student has been allotted 50 minutes for
                 this examination.
             2) The student has to do all the playing with the
 hoist.
3)    For Pakhawaj, the syllabus for Pakhawaj will be  asked.
4)    Stage performance will be done independently
 in front of the invitees, for which extra time and 50 marks will be given.
         have been determined.
1)    Ability to play in Trital according to this year's 
curriculum. - 55 points
2)    Dhiradhir and Dingang playing the rails consisting of
these word groups with the palates and thirds. - 20   points
3)    Playing of two pure Chakradhar and and two Tripalli 
Gattas with reading. - 30 points
4)    The practice of playing thirds with two breaths and two and a half volumes of sound from even to even. - 15 points

5)    In addition to the locks of the previous course and Tejta, Jhumra, Sultan - 15 marks
        And reading and playing Dhamar Taal's dogun, tigun,
        chaugun, hand clapping.
6)    Playing in any one of the rhythms as per the 
instructions of the examiner. - 40 points
    Matttal(9), Rudratal(11), Aadachautal(14)
7) Practice of Saath Sangat - 15 Marks
8) Mixing the instrument into the vocal - 10 points
    Total Verbal = 200 Marks

Stage performance :-
1) 30 minutes of tabla playing in any rhythm - 35 marks
2) Artistic Lagiyas at Deepchandi, Kaharwa and Dadra – 
    15 marks
                                                                Total Marks = 50 Marks