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Visharad pratham level - 6

Visharad pratham level - 6
                        Vishard Pratham
(Total marks: 400 , Min:180 )
Practicle : 250 ; (oral:200 + stage performance:50 )
Minimum: 128
Theory: 150 , Min: 52 ;(26 + 26 )
first question paper
1)    Difference between Taal and thekas, detailed definition of Taal.
       sam, taali, khali, vibhag information
2)    The practice of writing the tukdas  in trital and jhaptal in chaugun and dugun.
   3) Example definition of the following.
        amad, Peshakar, Qaida, Rela, , Gatparan, Mukhda,
4)Comparative study of different talas of equal-quantity 
        1) Deepchandi-Jhumra, Aadachautal-Dhamar
        2) Rupak-Tevra-Pashto
        3) Trital, Tilwara, Semi-Punjabi
5) Information and explanation of the relationship between
    rhythm and rhythm.
6) Theory of classification of Indian musical instruments 

second paper
1)    Brief study of the origin and development of the tabla or pakhawaj instrument.
2)    Different Bajas Used in Tabla Playing: Characteristics 
and Comparisons.
3)    Gharana of Tabla or Pakhawaj and their playing   specialties and complete knowledge of any one Gharana.
             Tabla - Delhi, Lucknow and Punjab
             Pakhawaj - Kadusingh, Nana Panse and 

(i) Place and importance of Peshkar, Qaida, Raila 
4)    and Gat in tabla solo playing.
   (ii) Rela, Chakradhar Paran, Stutiparan, Bolban
   Adeshi Paran's place and importance in the fortnight.
5)    Write in each of the following talas two dam and two 
bedam tihai taal scripts:-
         1) Tabla - Trital, Jhaptal and Chautal
         2) Pakhawaj - Tevra, Sultan, Adital
6) Method of Riyaz necessary to balance the playing of 
    Tabla/Pakhawaj and Bai.
6)    Biography and musical contribution of the following 
Tabla players.
        Ustad Salarikha, Ustad Munirkha, Pandit Kanthe 
        Maharaj, Ustad Gamekha, Ustad Karamatullakha,
        Ustad Inam Ali Khan, Pandit Purushottam Das
        Pakhavji, Pandit Madhavarai Algutkar, Pandit 
        Sakhramji Gurav

1)    Practice of mixing in tabla/pakhawaj notes and ability to recognize the medium and fifth notes on the harmonium.
2)    Rupak, Ektal, Sultan, Chautal, Trital and Jhaptal, 
reading and playing the contract of these rhythms with dugun, tigun , chaugun by  hand clapping.

3) (playing of the following in Tritala):-
      Dha) Two qaidas containing the word "Tit" (one Tistra 
      and Chatustra) four paltas and tihais.
       t) Two laws in which the word "Tirkit" is used, four 
          paltas and tihais.
a)    Dhi (Din) A rela containing trikittak word groups, 
four paltas and tihais.
      d) The rail with the dhiradhir bol group, the four flips
          and the third.
      Key) Minimum five bandishes (gat tukdas).
        k) Two dam and bedam.
       (The following playing in Pakhawaj)
(i)    In Chautal, Dhamar and Adital as follows, Padar, Tistra and Chatustra caste rails, Stutiparan, Gatparan and Taal Paran, Farmaishi Chakradhar Parane and Nauhaka thaiya.
3)    The method of Riyaz of the following words and word
 groups :-
      Dhatirkittak Tirkit, Dhati, Dhejteet, Dhirdhir,
     Dhingin,Gadigan, Dhumkit, Dheedhit Dheedteet
4)    Demonstration of artistic Laggia in Dadra and Kaharwa Tal.
5)    Each of the Tabla-Jhaptal and Sawari Taal (15 matras) consists of two qaidas (including one trisra and one chatustra palte), one rela, two dam tihais and four tukdas.
7) Accompaniment of singing and playing.
8) dam and bedam tihais of different quantities from the
    laya that have come in the practice so far.
9) A duly 30 minute stage performance.

Notice: 1) Each student has been allotted 50 minutes for
                 this examination.
         2)The student has to do all the playing with the
           3) For Pakhawaj, the syllabus for Pakhawaj will be 
           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)    Practice of mixing tabla into notes and various notes on harmonium - 10 points
   To recognize their middle and fifth vowels by playin
2)    The contracts of Rupak, Ektal, Sultan, Chautal, Trital and Jhaptal - 10 points
Clapping hands and playing in double, treble an quadruple
3)    Playing in Trital according to this year's course – 5 marks
4)    Demonstration of Riyaz's method of using word groups given in the syllabus - 15 marks
5) Kala Purna Lagiya in Dadra and Kaharwa - 10 marks
6) One Qaida, one rela, four tukdas and two tihais in 
    Jhaptal - 30 points
7)One qaida, one qaida, one rela, four tukdas  and two
 tihais in the ride - 30 points
8) Tihais in different quantities of taals - 10 marks
9) Accompaniment for Vocal / Instrumental - 20 Marks
10 ) General Effect - 10 Marks
                                                   Total Verbal = 200 Marks

Stage performance :-
1) Total solo playing in Trital - 30 marks
2) solo playing in Jhaptal or Sawari - 20 marks
Total Marks = 50 Marks