BSEH SS Tabla study plan

Define and correctly pronounce 40 core bols (Dha, Dhin, Na, Ta, Tin, Tun, Ge, Ghe, Ka, Tirakita, Dhagetereket, etc.), grouping them by whether they are played on the dayan, the dagga, or both

Recite the theka of Teental, Jhaptal, and Keharwa aloud while clapping tali and marking khali, without written aid

Map each of the six prescribed talas to its matra count, vibhag structure, tali/khali positions, and sam

Distinguish varna categories (Prahar, Pathan, Parishthik, Vishranik) and give two bol examples for each

Write out the full theka in notation for Teental, Jhaptal, Rupak, and Dadra, marking sam, tali, khali, and vibhag lines

Recite theka for all prescribed talas at three speeds (vilambit, madhya, drut) keeping sam stable with a metronome or tabla lehra

Identify and label each compositional form (kayda, palta, rela, tukda, paran, gat, chakradar) from its structural definition and a written example

Compose one 8-matra tukda in Teental that resolves exactly on sam

Build a kayda in Teental from a two-bol theme, then derive four paltas that preserve the theme's grammar

Convert the same kayda material into a rela and explain in writing what changes in density and stroke pattern

Analyze two chakradar compositions: count the repetitions, the total matras, and where the tihai lands

Use technical terms correctly in written sentences: mohra, tihai, palta, prastar, gat, paran, chakradar, farmaishi

Trace the origin debate for tabla: separate the pakhawaj-derivation account from the Delhi/Amad tradition account, and state which evidence supports each

List the six major gharanas (Delhi, Ajrada, Lucknow, Farukhabad, Benares, Punjab) with their geographic seat and founding figure

Describe each gharana's signature stylistic markers: preferred bols, baaj (bandh/purab), kayda vs. gat emphasis, and favored talas

Match ten audio or notation excerpts to the correct gharana using only stylistic evidence and justify each match in one sentence

Notate a composition in a consistent notation system, showing matra numbers, vibhag bars, tali/khali symbols, and bol syllables aligned to beats

Read back an unseen notated tukda aloud at sight and clap sam correctly

Compute layakari in 3/2, 2/3, 3/4, and 4/3 against a fixed theka and demonstrate each with spoken bols

Explain jati (tisra, chatushra, khanda, mishra, sankirna) and construct one lay-vistar showing barabar, dugun, and chaugun of the same theme

Label every part of the tabla and dagga (syahi, maidan, kinar, chanti, gajra, lacing, gatta, bida, gudri) and state the acoustic role of each

Describe tuning procedure, syahi maintenance, and humidity/temperature care for skin and lacing, and list three common faults with fixes

Plan a 15-minute solo set: opening peshkar or uthan, kayda with paltas, rela, tukda, and closing tihai, with matra timings budgeted

State the rules of vocal and instrumental sangat: following the artist's sam, matching lay, filling gaps without masking, and handling tihai cues

Summarize the contributions of at least eight eminent players (e.g., Ahmed Jan Thirakwa, Kanthe Maharaj, Anokhelal Mishra, Samta Prasad, Alla Rakha, Kishan Maharaj, Zakir Hussain, Swapan Chaudhuri) with gharana and one signature contribution each

Link each of those players back to a gharana style and identify one recording-era or teaching-era impact

Assess your two weakest domains from weeks 1-6 and re-drill them with 30 timed recall questions

Refine your gharana chart with any corrections found during biography study

Run two full timed mock exams covering all ten domains and score them against the official weighting (Domain 4 at 15%, Domains 5 and 6 at 15% each)

Re-notate one kayda and one chakradar from memory with correct symbols and verify against your week 3 portfolio

Recite theka for all prescribed talas at all three speeds in one continuous unbroken pass

Review every flagged error from the mocks and close each gap with a written correction note