Karṇāṭaka Tāḷavādya Pravēsha

(Junior in Karnataka Percussion Music)

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Junior Mrudanga
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Talavadya
Madhyama

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Sangeeta Bharati
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Syllabus

General Instructions

    • The syllabus outlined below represents the minimum requirements for Pravesha (Junior) Certification.
    • The Pravesha curriculum is organized into four progressive levels and is designed to be completed over approximately four years at a typical pace of practice.
    • The four levels represent a typical progression of learning and do not require students to appear for an examination every year or to complete the examinations sequentially.
    • Students may appear directly at any level based on their preparedness. Completion of the preceding level examinations is not mandatory.
    • Level 4 is mandatory for Pravesha Certification. Regardless of the level at which a student begins, Level 4 must be successfully completed to receive the Pravesha Certificate.
    • The Level 4 certification examination is conducted in person at designated examination centers in the United States.
    • The curriculum is cumulative. Compositions, skills, and competencies introduced at earlier levels remain part of the expected repertoire and proficiency at subsequent levels.
    • Lessons and Compositions prepared at earlier levels may be carried forward and presented at subsequent-level examinations, where appropriate.
    • A student appearing directly for Level 4 must demonstrate the cumulative repertoire, skills, and competencies required across Levels 1, 2, 3, and 4. Students may skip the preceding examinations, but not the curriculum requirements of those levels.
    • The Shastra (theory) syllabus is common to all percussion instruments in Karnataka Sangeeta, including instruments such as Ghata, Kanjira, and Morsing.

    • Sangeeta Bharati’s curriculum is Guru- and Sampradāya-agnostic and respects diverse pedagogical traditions within Hindusthani Sangeeta. Students are therefore not restricted to a prescribed list of compositions.

    • Detailed curriculum content and instructional materials are available in the respective Sangeeta Bharati textbooks.

Pravesha
Prathama

(Level 1)

Optional | Mode: Virtual

Paper 1: Practical

1. Basic Mrudanga Orientation

  1. Sitting posture and hand position
  2. Identification of right and left heads
  3. Basic Strokes:
    1. Tha
    2. Dhi
    3. Tom
    4. Nam
    5. Gumki introduction
    6. Voice recitation of syllables
    7. Shruti awareness and instrument care

2. Balapatha Exercises

  1. Adi Tala Balapatha
  2. Chaturashra Nade Exercises
  3. First speed and second speed rendering
  4. Jati Varases (pattern varieties) for Adi Tala
  5. Simple Korappu Exercises

3. Sapta Tala Introduction

  1. Suladi Sapta Tala demonstration
  2. Tala Anga practice
  3. Recitation with hand gestures
  4. Eka Kala rendering

4. Roopaka Tala Lessons

  1. Basic Exercises
  2. Jati Varases
  3. Teka Varases
  4. Sarvalaghu patterns
  5. Double-speed practice

5. Basic Tani Components

  1. Introduction to:
    1. Urutu (Farhan) 
    2. Mohara
    3. Muktaya
  2. Simple Adi Tala Mohara
  3. Simple Muktaya patterns (2-beats and 3-beats ending)

6. Recitation and Coordination

  1. Aural recitation in sync with Tala
  2. Basic Trikala practice
  3. Synchronization of recitation and playing

Paper 2: Oral

1. Introduction to Mrudanga

  1. Origin and history
  2. Importance of Mrudanga in Karnataka Sangeeta
  3. Role of percussion instruments in concerts

2. Tala Fundamentals

  1. Definition of:
    1. Tala
    2. Avartana
    3. Akshara
    4. Kala and Laya
    5. Tala angas and symbols
    6. Sapta Talas
    7. Pancha Jatis (introduction)

3. Technical Terms

Definitions and Examples for:

  1. Nade (Nadai)
  2. Korvai
  3. Mohara (pre-conclusion pwan/move)
  4. Eduppu (offset)
  5. Sarvalaghu Teka
  6. Tani Avartana (Solo/Separate play cycles)

4. Knowledge of Instrument

  1. Parts of Mrudanga
  2. Basic tuning concepts
  3. Care and Maintenance
  4. Materials used in the traditional Mrudanga

5. Student Discipline

  1. Stage Etiquette
  2. Respect towards Guru and Co-artists
  3. Examination Discipline
  4. Instrument handling and maintenance Ethics

Paper 3: Shravana Jnana (Aural)

  1. Identifying Adi and Roopka Talas
  2. Identify first and second speeds
  3. Repeat simple rhythmic phrases
  4. Recognize Sarvalaghu patterns

Pravesha
Dwiteeya

(Level 2)

Optional | Mode: Virtual

Paper 1: Practical

  1. Alankar: Any 10 Alankars and 5 Paltas in Thaah
  2. Raag: For each of the following Raags—Alhaiya Bilawal, Khamaj, Yaman, Bhoopali, Kafi, Bhairav, and Bihag:
    1. A brief introduction (Raag Parichay), including the Thaat, Raag Jaati, Gayan Samay, Vaadi, Samvaadi, Vikrut and Varjit Swars, Bhaav (Mood of the Raag), Aroh-Avaroh, and Pakad.
    2. One Sargam-Geet in any 2 of the above Raags.
    3. One Bandish (Chota Khayal), with 5 easy Taans, in any 4 of the above Raags.
  3. Taal: Demonstrate the following Taals with their Theka, Maatras, Vibhaagas, Taali, and Khaali in Thaah:
    1. Teen Taal
    2. Daadra
    3. Kaharwa
    4. Chautaal
  4. Sugam Sangeet: The following compositions, rendered with their original lyrics:
    1. Bhajans or Keertans—Any 2
    2. Geet, Folk Song or a Patriotic Song—Any 1

Paper 2: Music Oral

Simple Definitions of:

  1. Sangeet
  2. Swar
  3. Laya
  4. Taal
  5. Theka
  6. Taali–Khaali
  7. Chal Swar and Achal Swar
  8. Shuddh Swar and Vikrut Swar
  9. Maatra
  10. Sam
  11. Avartan
  12. Thaat
  13. Raag
  14. Raag Jaati and its types (Audav, Shadav, and Sampurna)
  15. Aroh, Avaroh, and Pakad
  16. Saptak and its three types
  17. Dhwani
  18. Shruti
  19. Alankar
  20. Khayal
  21. Bandish
  22. Sthayi
  23. Antara
  24. Taan
  25. Sargam-Geet

Paper 3: Theory

Common Theory

Kala Shastra Pravesha— Part 1

Mode: Oral

Pravesha
Truteeya

(Level 3)

Optional | Mode: Virtual

Paper 1: Practical

  1. Alankar: Any 15 Alankars and 10 Paltas in Thaah and Dugun
  2. Raag: For each of the following Raags—Alhaiya Bilawal, Khamaj, Yaman, Bhoopali, Kafi, Bhairav, Bihag, Bageshri, Brundavani Sarang, Bheempalasi, Desh, Kedar, and Aasavaari:
    1. A brief introduction (Raag Parichay), including the Thaat, Raag Jaati, Gayan Samay, Vaadi, Samvaadi, Vikrut and Varjit Swars, Bhaav (Mood of the Raag), Sam Prakrutik Raags (similar or related Raags), Aroh-Avaroh, and Pakad.
    2. One Bada Khayal Sthayi in any 1 of the following Raags: Yaman, Bihag, or Bhairav.
    3. For any 5 Raags from the above list, provide the Raag Parichay as specified in section 2A, along with one Bandish (Chota Khayal), 3 Alaps based on the Sthayi, and 7 Taans.
    4. For any 3 Raags from Kafi Thaat (e.g., Brundavani Sarang, Bheempalasi, Bageshri, and Kafi), provide Raag Parichay as specified in section 2A along with one Bandish and 3 Taans.
    5. Any 1 Lakshan Geet from any of the above Raags.
  3. Taal: Demonstrate the following Taals with their Theka, Maatras, Vibhaagas, Taali, and Khaali in Thaah and Dugun:
    1. Teen Taal
    2. Daadra
    3. Kaharwa
    4. Chautaal
    5. Roopak
    6. Ektaal
  4. Sugam Sangeet (in original lyrics):
    1. Any 1 Raag-based Geet or Bhajan/Keertan
    2. Any 1 Folk Song or Patriotic Song

Paper 2: Music Oral

Simple Definitions of:

  1. Sangeet
  2. Swar
  3. Laya and its types
  4. Taal
  5. Theka
  6. Taali–Khaali
  7. Chal and Achal Swar
  8. Shuddh Swar and Vikrut Swar
  9. Maatra
  10. Sam 
  11. Avartan
  12. Thaat
  13. Raag
  14. Raag Jaati and its types (Audav, Shadav, and Sampurna)
  15. Aroh, Avaroh, and Pakad
  16. Saptak and its three types
  17. Dhwani
  18. Naad
  19. Shruti
  20. Alankar
  21. Khayal
  22. Bandish
  23. Sthayi
  24. Antara
  25. Alap
  26. Palta
  27. Taan
  28. Sanchari
  29. Aabhog
  30. Kampan
  31. Aandolan
  32. Janak Thaat
  33. Janya Raag
  34. Lakshan Geet
  35. A brief introduction to any 2 renowned Hindusthani classical vocalists, including approximately 5 key facts about each.

Paper 3: Theory

Common Theory

Kala Shastra Pravesha—Parts 1 & 2

Mode: Written

Pravesha
Chaturtha

(Level 4)

Mandatory | In-person

Paper 1: Practical

  1. Alankar: Any 20 Alankars and 15 Paltas in Thaah, Dugun, and Chaugun, in the following Taals:
    1. Teen Taal
    2. Daadra
    3. Kaharwa
    4. Chautaal
    5. Roopak
  2. Raag: For each of the following Raags—Alhaiya Bilawal, Khamaj, Yaman, Bhoopali, Kafi, Bhairav, Bihag, Bageshri, Brundavani Sarang, Bhimpalasi, Desh, Kedar, Aasavaari, Tilak Kamod, Hameer, Bhairavi, Malkauns, Peelu, and Maarwa:
    1. A brief introduction (Raag Parichay), including the Thaat, Raag Jaati, Gayan Samay, Vaadi, Samvaadi, Vikrut, Varjit and Nyaas Swars, Bhaav (Mood of the Raag), Unique facts or history, Sam Prakrutik Raags (similar or related Raags), Aroh-Avaroh, and Pakad.
    2. One Raag for detailed presentation: The candidate shall present one prescribed Raag in detail, including an introductory Alap, 1 Bada Khayal with appropriate 1 Alap/Vistar and 1 Taan, followed by 1 Chota Khayal in the same Raag with 4 variations, 2 Alaps in Sthayi, 7 Taans in Sthayi (2 Bol Taans, 2  Taans in ‘A’kar, 3 Taans in Swar).
    3. For any 5 Raags from the above list, provide the Raag Parichay as specified in section 2A, along with 1 Bandish, 3 Alaps based on the Sthayi, 5 Taans in Sthayi, and 3 Taans in Antara.
    4. For any 1 Raag from Bhairavi Thaat, provide the Raag Parichay as specified in section 2A, along with one Bandish and 3 Taans.
    5. Any 1 Tarana from the above list of Raags.
  3. Taal: Demonstrate the following Taals with their Theka, Maatras, Vibhaagas, Taali, and Khaali in Thaah, Dugun, and Chaugun:
    1. Teen Taal
    2. Daadra
    3. Kaharwa
    4. Chautaal
    5. Roopak
    6. Ektaal
  4. Sugam Sangeet (in original lyrics):
    1. Any 1 beginner semiclassical composition in Raag Khamaj.
    2. Any 1 other Raag-based Bhajan or Keertan.
    3. Any 1 Folk Song or Patriotic Song.

Paper 2: Shravana Jnana (Aural Skills)

  1. Recognize a Raag from the above list when rendered on an instrument or sung by the examiner.
  2. Recognize a Swar when rendered on an instrument or sung by the examiner.
  3. Identify and sing the given notation or Swar passage from a prescribed Raag.
  4. Identify prescribed Taals from their Theka or rhythmic pattern.

Paper 3: Theory

Hindusthani Pravesha

—Shastra

(Hindusthani Music Theory)

Simple Definitions of:

  1. Sangeet
  2. Swar
  3. Laya and its types
  4. Taal
  5. Theka
  6. Taali–Khaali
  7. Chal and Achal Swar
  8. Shuddh Swar and Vikrut Swar
  9. Maatra
  10. Sam 
  11. Avartan
  12. Thaat
  13. Raag
  14. Raag Jaati and its types (Audav, Shadav, and Sampurna)
  15. Aroh, Avaroh, and Pakad
  16. Saptak and its three types
  17. Sangeet Paddati
  18. Dhwani
  19. Naad
  20. Shruti
  21. Alankar
  22. Palta
  23. Khayal
  24. Bandish
  25. Bada Khayal
  26. Geet
  27. Bhajan
  28. Keertan
  29. Tarana
  30. Lakshan Geet
  31. Sthayi
  32. Antara
  33. Alap
  34. Taan
  35. Sanchari
  36. Aabhog
  37. Kampan
  38. Aandolan
  39. Janak Thaat
  40. Aashray Raag
  41. Janya Raag
  42. Vaadi, Samvaadi, Anuvaadi, Vivaadi, Ansh, Nyaas, and Vakr Swar
  43. Poorvang and Uttarang

Detailed Questions

  1. Explain the concept of Sandhi Prakash Raag.
  2. Describe the qualities and defects of a Gayak.
  3. Define Taan and explain its different types.
  4. Write the notation of one prescribed Sargam-Geet either in Vishnu Narayan Bhatkhande or Vishnu Digambar Paluskar’s notation system.
  5. Taal  notation:
    1. Teen taal 
    2. Daadra 
    3. Kaharwa 
    4. Chautaal 
    5. Roopak 
    6. Ektaal
    7. Dhamar taal 
  6.  Draw and label the principal parts of a Tanpura or Harmonium
  7. Write a life sketch of Sharngadeva and Swami Haridas in a paragraph (in 5 to 6 sentences)
  8. An introduction to any 1 renowned sitarist and any 1 renowned Hindusthani classical vocalist, including approximately 5 key facts about each.

Mode: Written

Karnataka Talavadya Madhyama

(Senior in Karnataka Percussion Music)

Work in progress. For now, one can access the available materials from the link

https://drive.google.com/drive/u/1/folders/1cw65Dq6-_zNmtShu5UlKyrAmVb301Qmc