PSEB Matric Music Tabla study plan

Define in writing at least 25 core tabla terms (bayan, dayan, syahi, chanti, maidan, gatta, tali, khali, sam, avartan, matra, vibhag, laya, theka, bol, palta, tihai, mukhda) and group them into instrument-part, tala-structure, and composition categories

Recite and write the varnas of tabla bols, distinguishing dha, dhin, ta, tin, na, ge/ghe, ke, kat, tirakita, dhere-dhere and their common variants, noting which hand plays each

Transcribe the theka of Teental in single and double speed from memory using a consistent notation scheme, marking sam, tali and khali positions

Speak (padhant) 10 basic bol clusters aloud at a steady pulse while clapping tali and waving khali correctly

Map the structure (matra count, vibhag division, tali/khali pattern) of Teental, Jhaptal, Rupak, Dadra, Keherwa, Ektaal and Chautal in a comparison table

Count and padhant each of those seven talas in bar-by-bar cycles without losing sam, at least 8 consecutive avartans each

Explain and demonstrate the difference between vilambit, madhya and drut laya by keeping one theka at three tempos with a metronome

Identify and correct khali placement errors in written theka notations by spotting deliberately mis-marked examples you create yourself

Describe the construction rules of peshkar, kaida, rela, gat and tukda, and state how each typically begins, develops and resolves relative to sam

Compose and notate one 8-matra palta sequence and one 4-avartan kaida in Teental using only bols you can already play cleanly

Build three tihais (one damdar, one barabar, one with a chakradar-style repeat) that land exactly on sam in Teental

Practise peshkar-style opening phrases at vilambit laya for 15 minutes daily, keeping volume even between hands

Distinguish tukda, mukhda and gat by function in performance and write one original example of each in Teental notation

Play a rela in Teental at drut laya for 2 minutes without breaking the bol pattern or tempo

Analyse a kaida you wrote in week 3 and label which phrases are kaida body, palta and tihai

Explain the terms khali, bhare, atit and anagat with one played or spoken illustration each

Accompany a fixed vocal or instrumental phrase in Ektaal and in Jhaptal, keeping theka steady while the melodic line moves

Demonstrate the standard theka for Dadra and Keherwa at accompaniment tempo and state which light-classical and folk forms commonly use each

Practise following a signal for sam and for khali from a partner or recording, adjusting within one matra

Explain how accompaniment laya is chosen to match a vocalist's breath and composition tempo, and note three adjustment cues a tabla player watches for

Name the six main tabla gharanas (Delhi, Ajrada, Lucknow, Farukhabad, Benares, Punjab) with at least one defining stylistic feature and one prominent exponent of each

Summarise the contributions of at least five historical figures or lineages to tabla repertoire and technique in your own words

Label the parts of dayan and bayan (syahi, chanti, maidan, gajra, gatta, plinth, skin) and describe how each affects sound

Demonstrate tuning the dayan with a hammer and tuning block and explain how to adjust the bayan's syahi or gatta for pitch and sustain

List a maintenance routine covering storage, humidity, skin care and when to replace straps or syahi

Notate Jhaptal, Rupak and Chautal theka from memory in a single consistent notation system, showing vibhag lines, tali numbers and khali symbols

Sight-read back your own notations aloud and identify any bol written with wrong hand or wrong matra

Convert three bol phrases between spoken padhant and written notation, including tirakita and dhere-dhere clusters

Write one tukda in Jhaptal and one tihai in Rupak, checking that the matra totals sum exactly to the cycle

Perform a full 10-minute solo in Teental covering peshkar, kaida with paltas, tukda, gat, rela and a closing tihai on sam

Accompany one tala for 5 minutes with a melodic recording, keeping theka steady and signalling sam clearly

Run a timed mock practical under exam conditions, then list three specific weaknesses and drill each for 10 minutes

Revise the glossary, tala chart and gharana summary in two short spaced-repetition passes