PSEB SS Music Tabla study plan
PSEB SS Music Tabla · Give each week a clear focus.
8 weeks · About 6 hours per week
History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras) & Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka
List the six gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras) and write one paragraph on each gharana's lineage, founding figure and stylistic signature
Trace the origin debate of the tabla (pakhawaj splitting, Delhi Sulaiman / Amir Khusrau narratives) and separate documented history from legend in your notes
Define and correctly use at least 20 technical terms (bol, varna, laya, matra, vibhag, tali, khali, sam, avartan, theka) with one example each
Recite and write the theka of Teental and Jhaptal with tali/khali marks from memory
Your checkpoint
A handwritten two-page gharana comparison table plus a 25-term glossary, self-quizzed to 90% accuracy
Tala system: theoretical and practical knowledge of common and advanced talas (Teental, Jhaptal, Ektaal, Rupak, Dhamar, Ada Chautal, Jhoomra, Deepchandi, Chautal) & Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka
Map the vibhag structure, tali/khali positions and sam of all ten prescribed talas (Teental, Jhaptal, Ektaal, Rupak, Dhamar, Ada Chautal, Jhoomra, Deepchandi, Chautal)
Recite the theka of each prescribed tala aloud in vilambit, madhya and drut laya
Convert between matra counts, avartan lengths and laya ratios (barabar, dugun, tigun, chaugun) for each tala
Distinguish Rupak and Ada Chautal from same-length talas by khali placement and clap pattern
Your checkpoint
A one-page tala chart (all ten talas: matra, vibhag, tali, khali, sam) plus a recorded recitation of five thekas in three layas
Compositional forms: Kayda, Palta, Peshkar, Rela, Tukda, Paran, Chakradar, Gat, Uthan, Farmaishi Chakradar & Tala system: theoretical and practical knowledge of common and advanced talas (Teental, Jhaptal, Ektaal, Rupak, Dhamar, Ada Chautal, Jhoomra, Deepchandi, Chautal)
Define Kayda, Palta, Peshkar, Rela, Tukda, Paran, Chakradar, Gat, Uthan and Farmaishi Chakradar, and state which tala and laya each suits
Compose and play a Peshkar in Teental with at least four variations
Compose a Kayda in Teental with two Paltas and a Tihai resolving on sam
Play a Chakradar in Jhaptal and count its mathematical structure aloud
Your checkpoint
Written notation of one Peshkar, one Kayda with paltas and tihai, and one Chakradar, all performed and checked against the notation
Notation writing and reading of Tabla compositions in prescribed notation system & Compositional forms: Kayda, Palta, Peshkar, Rela, Tukda, Paran, Chakradar, Gat, Uthan, Farmaishi Chakradar
Notate a Kayda, a Rela, a Gat and a Paran in the prescribed notation system using correct symbols for tali, khali, sam, vibhag and laya
Read back an unseen notated composition and play it correctly at first attempt
Write a Rela in Teental and a Gat in Rupak with jhala section
Identify and correct deliberate notation errors in three sample compositions
Your checkpoint
A notation portfolio of four compositions in the prescribed system, plus a blind reading test scored by a teacher or self-check against a known recording
Solo performance (solo vadan) with Peshkar, Kayda, Rela, Gat and Jhala in prescribed talas & Tala system: theoretical and practical knowledge of common and advanced talas (Teental, Jhaptal, Ektaal, Rupak, Dhamar, Ada Chautal, Jhoomra, Deepchandi, Chautal)
Assemble and perform a 15-minute solo vadan in Teental following Peshkar, Kayda, Palta, Rela, Gat, Jhala order
Perform a solo in Jhaptal and one in Rupak with correct sam arrival
Build a Farmaishi Chakradar and an Uthan that land exactly on sam in drut laya
Practise laya control: hold vilambit, madhya and drut with a metronome without drift
Your checkpoint
A full recorded 15-minute solo in Teental with a written sequence sheet, self-assessed for sam accuracy and laya stability
Tabla accompaniment (sangat) with vocal and instrumental music, including light music & Solo performance (solo vadan) with Peshkar, Kayda, Rela, Gat and Jhala in prescribed talas
Accompany a vocalist in vilambit and drut Teental, keeping theka steady while following the singer's sam
Accompany an instrumentalist in Jhaptal and Ektaal, adjusting volume and density to the soloist
Play theka for a light-music piece (bhajan or ghazal) in Keherwa and Dadra with fills on sam
Demonstrate the difference between solo improvisation and sangat discipline by playing the same tala both ways
Your checkpoint
Two recorded accompaniment pieces (one classical, one light music) with a short written note on where you chose restraint and why
Solo performance (solo vadan) with Peshkar, Kayda, Rela, Gat and Jhala in prescribed talas & Compositional forms: Kayda, Palta, Peshkar, Rela, Tukda, Paran, Chakradar, Gat, Uthan, Farmaishi Chakradar & Tala system: theoretical and practical knowledge of common and advanced talas (Teental, Jhaptal, Ektaal, Rupak, Dhamar, Ada Chautal, Jhoomra, Deepchandi, Chautal)
Perform a complete solo in a second prescribed tala (Ektaal or Dhamar) with all required angs
Play an Ada Chautal and a Jhoomra theka at correct laya and explain their use in dhrupad and khayal contexts
Refine two weak compositions identified in week 5 feedback to performance standard
Practise Paran and Tukda in at least three different talas
Your checkpoint
A second full solo recording in a new tala, plus a one-page self-evaluation listing three fixed weaknesses
Construction, tuning, maintenance and care of the Tabla and related instruments & Contribution of prominent artists and scholars to Tabla, and general knowledge of Hindustani music & History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)
Explain the construction of tabla and dagga (syahi, puri, gajra, chanti, maidan) and describe tuning by gatta and hammer
Demonstrate maintenance: changing a bayan head, tuning to Sa-Pa, storing and caring for the instrument
Summarise the contribution of at least six prominent tabla artists and scholars with gharana and key innovation
Answer general Hindustani music questions (swara, raga, tala, forms) and revise all earlier domains in a mock test
Your checkpoint
A full-length mock exam across all nine domains scored above 70%, plus a labelled diagram of tabla parts and a tuning demonstration
Milestones
Week 2: Can state matra, vibhag, tali, khali and sam for all ten prescribed talas without notes, and recite five thekas in three layas
Week 4: Can notate and read back an unseen composition in the prescribed system, and has written notation for Peshkar, Kayda, Rela, Gat and Chakradar
Week 6: Has recorded a 15-minute Teental solo and two accompaniment pieces (classical and light music) that hold sam and laya
Week 8: Scores above 70% on a full mock exam covering all nine domains and can explain tabla construction and tuning hands-on