PRAYAG SANGEET SAMITI SYLLABUS YEAR THREE
There will be a practical examination carrying 100 marks and one theory paper of 50 marks. All previous years courses are also included.
PRACTICAL
1.Performance in teental of two difficult Tatkar with Hastak, 2 new Thaat, 1 Amad, 1Salami, 5 difficult Toras, 1 Paran and 1 Chakkardar Paran. Performance of Tatkar by foot in Vilambit, double triple and quadruple speeds and practice of its clap-marked vocal demonstration.
2.Performance of 2 new Tatkars with Hastaks and Paltas, 1 Chakkardar Tora, 2 difficult Toras and two Tihais in Jhaptal.
3.Performance of 2 Thaat, 1 Salami, 1 Amad, Tatkars with hastaks, 4 Toras and two Tihais in Ektal.
4.Two Tatkars and two Toras in Sooltal.
5.2 Ghoonghat Bhava in Teen-Tal
6.Clap marked vocal demonstration of the Thekas in Tevra Tal, Chartal, Sool tal and Dhamar tal in the basic, double and quadruple speeds and performance of foot Tatkars in these Tals in all the aforesaid three speeds.
7.Two specially noted folk dances.
THEORY
1.Knowledge of the following definable terms : -
(a)Paran Chakkardar Paran, Mushti, Pataka, Tripatak, Mukutkaran, Reechak, Angahar, Upang & Palta
(b)Origin of sound Kampan, Andolan, Peculiarities of Nada, Nada-Sthan Swara, Chal and Achal Swara, Shuddha and Vikrita Swara, Saptak, (Mandra Madhya and Taar) :
2.Brief history of the Lucknow and Jaipur Gharanas of dance
3.Brief biography of Achhan Maharaj and Jiyalalji
4.Knowledge of Bhatkhande and Vishnu Digambar systems of Tal notation.
5.Full familiarity with Tevra, Char Tal, Ara Chartal and Dhamar Tal.
6.Place of Dance in INDIAN MUSIC
7.Full familiarity with TABLA & MRIDANG (Pakhawaj).
Question no. 1 (part a) Knowledge of the following definable terms:
Paran: A variety of compositions played exclusively on the Pakhawaj. These are forceful compositions and are danced with vigorous movements.
Chakkardar Paran: A paran when performed three times, starting from sum and ending on 'Sum', is called a 'chakkardar Paran'.
/ Mushti: Mushti is one of the Asanyukta (mudra with one hand) mudras. In this hand gesture all four fingers touch the palm and the thumb is placed over the fingers./ Pataka : One of the 24 Asanyukta mudras. In this hand gesture all the fingers are straight and the thumb is slightly inward.
/ Tripataka : One of the Asanyukta mudras. When the ring finger is bent towards the palm in Pataka mudra, it becomes Tripataka.
Mukutkaran : A type of Karan in which hands are held in pose of crown.
Rechak:
Angahar :
Upang : Minor limbs of body, such as eyebrows and eyeballs.
Palta : Palta is part of Gat. It's a movement in which the dancer steps to one side and at the same time allows his body to complete revolution.
Question no. 1 (part b) Knowledge of the following definable terms:
Origin of Sound: According to Indian musicologists Omkar or Om is the origin of the sound. Om is a premordial sound and it contains all other sounds within it.
Kampan: Vibration of the sound.
Andolan: Andolan and Kampan are the same things. When a sound wave travels to a certain distance and then comes back, this whole process is called Andolan and Kampan. There are two types of Andolan.
- Niyamait or regular Andolan: When the sound waves travel in same speed, it's called Niyamit Andolan.
- Andyamit or irregular Andolan: When the sound waves do not travel in the same speed, it's called Aniyamit Andolan.
Nada-sthan:
Swar / Shuddha or Vikrit / Length of Tar / #of vibrationsSa / Shuddha / 36" / 240
Re / Komal (vikrit) / 34" / 254 & 2/1 7
Re / Shuddha / 32" / 270
Ga / Komal (vikrit) / 30" / 288
Ga / Shuddha / 28 & 2/3" / 301 & 17/43
Ma / Shuddha / 27" / 320
Ma / Tivra (vikrit) / 25 & ¼" / 338 & 14/17
Pa / Shuddha / 24" / 360
Dha / Komal (vikrit) / 22 & 2/9" / 381 &3/17
Dha / Shuddha / 21 & 1/3" 405
Ni / Komal (vikrit) / 20" / 432
Ni / Shuddha / 19 & 1/9" / 452
Swara: The notes in classical Indian music are called Swaras.
Chal and Achal Swara: Chal swaras are the swaras that can be altered and Achal swaras can not be altered. Achal swaras are fixed. Re, Ga, Ma, Dha, Ni are Chal Swaras and Sa and Pa are Achal Swaras.
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Shuddha and Vikrit Swara: Suddha Swaras are pure notes of a Saptak. Vikrit Swaras are interpolations. They are softer altered versions of some pure notes (Re, Ga, Ma, Dha, Ni) that on a musical key would be placed in the space between them. Sa and Pa are fixed notes and they don't have Vikrit forms.
Saptak: The Saptak is an octave comprised of seven pure notes: Shadja (Sa), Rishabh (Re), Gandhara (Ga), Madhyam (Ma), Pancham (Pa), Dhaivat (Dha), and Nishad (Ni).
Mandra, Madhya, and Taar Saptak: Mandra Saptak is the lower octave, Madhya is the middle octave, and Taar is the higher octave.
Question no. 2: Brief history of the Lucknow and Jaipur Gharana of dance
Please refer your second year's theory material.
Question no. 3: Brief biography of Achhan Maharaj and Jailalji
Achchan Maharaj
The eldest son of Kalka Prasad, Jagagannath Maraj, popularly known as Achchan Maharaj, received Kathak training directly from his father and his uncle Bindadin Maharaj. When Kalka Prasad and Bindadin Maharaj died, it was left to Achchan Maharaj to train his younger brothers, Shambhu Maharaj and Lachchu Maharaj. Achchan Maharaj served for a long time in the state of Raigarh and he also served as a court dancer in some other states of North India. True to the tradition of his Gharana, he excelled in 'Bhava' (expressions), but he was also an exponent of 'Nritta' (pure dance). He died in 1946. He is survived by a son, Pt. Birju Maharaj, who has already proved himself to be a very worth successor.
Jailalji
Acknowledged by common consent, as the doyen of the Jaipur Gharana, Jai Lal Mishra was born about 1885 and he died in 1949. HE was first attached to the court of Jaipur and after that he also served as a court dancer in the states of Jodhpur, Sikri, Raigarh and Maihar. HE was for some time in Nepal as well. He stayed for about 8 years at Raigarh and taught Kartik and Kalyan. Jailalji was also an expert in Tabla and Pakhawaj. He was an accomplished musician. Jai Lal was trained by his father Chuni Lal. He spent last three years of his life in Calcutta. He married twice and is survived by two children, Ram Gopal and Jai Kumari, both of whom are Kathak dancers.
Question 4: Knowledge of Bhatkande System of Taal notation
a)Recording of tatkaar in first speed:
1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 / 12 / 13 / 14 / 15 / 16Ta / s / Tha / I / Tha / I / Ta / Ta / Aa / s / Tha / I / Tha / I / Ta / ta
X / 0 / 2 / 3
b) Recording of tatkaar in second speed:
1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 / 12 / 13 / 14 / 15 / 16Ta s / thai / thai / tata / Aa s / thai / thai / tata / Ta s / thai / thai / tata / Aa s / thai / thai / tata
X / 0 / 2 / 3
c) Recording of Tora (Tukda) in Teentaal
1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 / 12 / 13 / 14 / 15 / 16x / 0 / 2 / 3
ta / thai / ta / thai / tata / thai / aa / thai / aa / thai / tata / thai / thai / _ / ta / thai
_ / ta / thai / _ / tat / tat / ta / tat / tat / ta / tat / tat / ta / _ / thai / _
ta / thai / _ / ta / thai / _ / tat / tat / ta / tat / tat / ta / tat / tat / ta / _
thai / _ / ta / thai / _ / ta / thai / _ / tat / tat / ta / tat / tat / ta / tat / tat
ta
Tukda 2 in Teen Taal
1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 / 12 / 13 / 14 / 15 / 16diga diga / diga diga / thai s / ta _ / thai ta / thai _ / _ thai / ta ka / tho _ / diga diga / diga diga / thai s / ta s / thai ta / thai _ / _ thai
x / 2 / 0 / 3
ta ka / tho _ / tig dha / ta tig / dha ta / diga diga / tig dha / ta tig / dha ta / tho _ / tig dha / ta tig / dha ta / diga diga / tig dha / ta tig
x / 2 / 0 / 3
dha ta / diga diga / ta thai / ta _ / diga diga / aa thai / ta _ / diga diga / ta thai / ta _ / aa thai / ta _ / ta thai / ta _ / aa thai / ta_
x / 2 / 0 / 3
diga diga / dhin / dhin / dha / dha / dhin / dhin / dha / dha / tin / tin / ta / ta / dhin / dhin / dha
x / 2 / 0 / 3
Note: The sign "_" is used to denote space.
Knowledge of'Vishnu Digambar' system of Tal notation
Symbol for 2 beats / S / Guru
Symbol for 1 beat / A small horizontal line ( - ) / Laghu
Symbol for ½ beat / A zero (0) / Druta
Symbol for ¼ beat / Half moon facing upwards / Anudruta
Symbol for 1/8 beat / Tow half moons facing upwards, one on top of the other / Anu Anudruta
Space / S / Avagrah
Sum / 1 (the number 1)
Tali / The number of the beat where the tal is used
Khali / A sign of plus
Question no. 5
Tevra Tal: 7 beats, 2 talis, 1 khali, 3 Vibhags or divisions.
1 2 3 / 4 5 / 6 7Dha din ta / Ti ta ka ta / Gadi gina
X / 2 / 0.
Char Tal: 12 beats, 4 talis, 2 khalis, 6 Vibhags
Dha dha / Din Ta / Tita Dha / Din Ta / Tita kata / Gadi Gina
X / 0 / 2 / 0 / 3 / 4
Ara Chartal: 14 beats, 4 talis, 3 khlis, 7 Vibhags.
1 2 / 3 4 / 5 6 / 7 8 / 9 10 / 11 12 / 13 14Dha -g / Dha Ge / Din Ta / Kita dha / Din Ta / Tita Kata / Gadi Gina
X / 2 / 0 / 3 / 0 / 4 / 0
Dhamar Tal: 14 beats, 3 talis, 1 khali, 4 Vibhags.
1 2 3 4 5 / 6 7 / 8 9 10 / 11 12 13 14Ka dhe te dhe te / Dha aa / Ga di na / Di na ta aa
X / 2 / 0 / 3
Question no. 6: Place of dance in Indian Music:
The word for music in India is Sangeet. Sangeet is defined as the art of singing, dancing, and playing music.
Geetam Vadyam thatha nrityam trayam sangeet muchchayate
Music is the art form which is a combination of sounds with a view to beauty of form and _expression of emotions. Dance is a part of music in India.
Question no. 7 TABLA ( XEROX COPY - ATTACHED ) and Mridang (Pakhawaj)
The Mridanga is probably the most ancient of Indian drums. The Mridanga is a barrel shaped drum about two feet long, with a girth of about three feet in the center. The two ends have a diameter of about 9 inches each. Slight variations from these dimensions may occur in different Mridanga. The shell of this drum is made of wood and is slightly larger at one end than the other. The two heads are covered with parchment, which is tightened or loosened by leather braces enclosing small cylindrical blocks of wood. These blocks are eother pushed farther or nearer from the head which is being tuned. As the strain on the braces is increased or decreased, so the parchment head is stretched or loosened, and the pitch raised or lowered as desired. One of these two heads has an application of a mixture of manganese dust, boiled rice, and tamarind juice in order to increase the pitch. This mixture appears as a black circle, slightly raised in the center about one eighth of an inch. It is a permanent fixture on the drum and this side is played with the right hand.. The other side of the Mridangam is left bare, but whenever it is played, a special paste of boiled rice or flour is applied on it. It must be carefully washed off every time after it is used. This side is played with the left hand.
The Pakhawaj is slightly larger than the Mridanga and is played in North India.
Please see attached flyer for more information on Tabla.