Mridangam Syllabus Junior.

Theory Part Paper - 1

A. Taala – Familiarity with the word

Variety in Taala Taala – Explanation of the Jaathis and Parts of Sapta (7) Taalas ,
types or varieties in the Jaathis of the Taala. Knowledge of demonstrating these.
Taalas in Alankara, etc.

B. Writing the Taala lessons in 3 speeds,beginning varisais (25 – 50 varisais)

C. Understanding/knowledge of Sama – Vishama Grahas – Beginning lessons (Baala patha)

Ta –Dhi – Tom – Nam – Taakita – Dheekita - etc.
D. The place of percussion instruments in music concerts, necessity of these instruments,
importance, limitations, problems. Relation between music and lyrics – place of taala here,
etc.

AURAL – (Shravana Jnanam) Theory Part Paper – 2

1. Identifying the Talas – Sapta Taalas in chaturasra Jaathi

2. When small lessons are recited in Konna kol identifying the kaalas (in Tri-kaala)
( one for 1 count, 2 for 2, 3---etc )
3. Examining the knowledge of Grahas
4. Counting the Akshara kaala for different taalas, saying the Aksharas to suit the
characteristics (Lakshana) of the Taalas.

PRACTICALS – Paper – 1
1. Knowledge of Sruthi of Mridanga – Familiarity with Meetu, Chaapu, etc. Playing Chaapu, Are
Chaapu – Knowldege of deifference between these.
Knowledge of identifying sruthi of Ghatam, Morsing.
2. Setting or fitting the 4 letters Ta – Dhi – Tom – Nam to sapta taalas in chaturasra jaathi and
saying them.
Taalas of Alankara: 1.chaturasra jaathi Dhruva taala 2. Chaturasra jaathi Matya taala 3. Chaturasra
jaathi Rupaka taala 4. Misra jaathi Jhampa taala 5. Tisra jaathi triputa taala 6. Khanda jaathi Ata
taala 7. Chaturasra jaathi Eka taala.

Saying these and according to the Naada lessons playing, using fingers.

Paper – 2

1. Saying the beginning lessons (Baala patham) in 3 speeds for 7 taalas – Baala varisais –
(Takadhimi, Taakita, Kitataka, etc.) saying and playing – lessons having aksharams equal to
taala.
2. Varisais in 7 taalas in 3 speeds (Na, Dhim, Dhim, Na, etc.) – and other nadais – saying these
with uruttus along with putting taala, similarly [playing on the instrument.
3. Do ‘Korappu’ for Bala varisais, saying ‘muktayis’ and small ‘teemanams’ (Tadhiginatom) and
playing. Among the 7 taalas, playing and saying ‘mohara muktayas’ for chaturasra rupaka
and chaturasra triputa taalas. (must include simple teermanas along with ‘tadiginatom, etc.)
4. Knowledge of Sama, Vishama (Ateeta-Anaagata) Grahas – playing and saying.

***********************
 SENIOR – THEORY – Paper – 1

1. Sapta Taalas and their parts – Method and order of using Laghu, Drutha and Anudrutha.
2. Arrangement of, and names of 35 ‘suladi’ taalas.
3. Explaning 6 angas, aksharakaala, symbols for the angas(anga samjne) along with their
action/function.
4. Chapu taalas – Tisra,Khanda, Misra, Samkeerna, Deshadi, Madyadi Taalas.

Paper – 2
1. Explanation for 16 Angas (parts), Akshara kaala, Maatre, including Anga samjne and kriye
(action/function).
2. Explain ‘Dashapranas’ of Taala.
3. Life history of the following great personalities:
a)Narayanaswamappa,b) Dakshinamurthy Pillai c) Mutthukumaraswamy Tewar d) T.M.
Puttaswamaiah e) H. Puttachar and f) C.K. Ayyamani Iyer.
4. Classification of Musical Instruments into Thatha, Sushira and Avanaddha. Expalin structure
(construction) and uses of various percussion instruments.
5. Study of reading and writing what is played on the instruments, as per notation.

PRACTICALS – PAPER – 1

1. Method of tuning the percussion instruments and familiarity with that. Methods of tuniong
the instruments like Mridangam, Ghata, Morsing, etc., which the candidate appearing for the
examination has practiced.
2. Knowledge of identifying ‘Meetu’, ‘Chapu’, ‘Are chapu’.
3. Reciting the ‘shabdaakhara’ and playing. Reciting the lessons of sama and vishama graham
and playing them for ‘Adi taala’.

Paper – 2

1. Playing in ‘Tisra Nadai’, what is being played in ‘Chaturasra Nadai’ in the following taalas:
Chaturasra Triputa, Tisra Triputa, Chaturasra Rupaka, Misra Jhampa,
2. Complete knowledge about Taala and Laya and the differences between the 2.
3. For the above mentioned talas – playing tisra and khanda nadais in sama graham; playing Jathis,
Bala varisais, Korappu and moharas; playing mukhtayas of 16, 14, 12 10 aksharas’ uruttus with
kaarvais of 4,3,2 aksharas and repeating the same verbally.

Paper – 3
1. Playing, following the neraval and kalpana swaras of the compositions listed in senior vocal
exam.
2. Knowledge of playing ‘Tani’ for 6 minutes in ‘Taala Vaadya’
3. Following for the prominent taalas with 4,5,6,7 counts.
4. Knowledge of playing ‘Tani’ for 10 minutes.
5. Knowledge of quarter, half and three fouths eduppu (where the kritis start), knowledge of
following at these eduppus and playing ‘tani’ for these kritis with such eduppus.
 VIDWAT – PRE-PROFICIENCY – THEORY – Paper – 1

1. Familiarity with Various Percussion Instruments: A rough knowledge of instruments like

Mridanga, Khanjari, Ghata, Morsing, Dolu, Dolak, Sammela, Chande, Gettu, Karata, Udukka,
Chowdike, Damaruga, Tamate, Nagaari, etc. Detailed explanation of Mridanga.
2. Complete knowledge of 5 major variety/distinction of ‘Laghu’ – their akshara kaala, kriye,
etc.
3. ‘Ashtotthara shata taalas’ and their ‘prasthaara’ (elaboration/extension)
4. Marga and desi taalas.
5. Detailed and thorough knowledge of all ‘Paaribhaashika’ (technical) words used in Taalas.
6. Life History of the following Great personalities;
Maanpoondiyaa Pillai, Azhaganambi Pillai, T.M. Venkatesha Tewar, Palghat Mani Iyer,
Pazhani Subramanya Pillai, K.S. Manjunathan.

Paper – 2
1. Fine arts – Different categories of fine arts, experiencing and feeling the fine arts,
place of music in fine arts, social- spiritual-cultural value of music.
2. Indian classical music belonging to different regions and different sacred
places(Kshetras), Knowledge of light music, dance music, devotional music, folk
music and in each of these varieties the place of percussion instruments, their
adherence, and the discrimination/judgement of the player regarding his
responsibility, ‘Guna’ and ‘Doshas’ of a player( good and bad qualities of a
percussionist) .
3. Comparitive study of the percussion instruments that are in use in Carnatic and
Hindusthani systems of music.

PRACTICALS – Paper -1

1. Tuning the percussion instrument perfectly, knowledge of aligning the ‘meetu’ and ‘chaapu’
properly and when they are not aligned properly knowledge of correcting them. Tuniong the
Ghata, Morsing and other instriuments.
2. Playing in 3 speeds for ‘Adi-taala-Varnas’(as per the Vidwat grade music –practicals paper -1)
3. Playing in 3 speeds for ‘Ata-taala-varnas(as per Vidwat practicals paper – 1)
4. Following for Varnams in Misra -Jhampa, Chaturasra Rupaka, Khanda-Triputa and playing in 3
speeds.

Paper – 2
1. Following for compositions with ‘sama eduppu’
2. Folowing for ‘Cgoka kala – Adi taala’ compositions in Vishama Graha
3. In 35 Taalas, doing ‘Nadai –Bhedam’ in any taalas of 5,7,9,11 and 13 counts.
4. For any of the above taalas, different varities of playing in tisra, khanda, misra and samkeerna
nadais.
5. Knowledge of the special structure of ‘Pancharatna kritis: Knowledge of implementing and
playing according to the ‘Rasa’ and ‘Bhava’ in these kritis.
 PROFICIENCY – FINAL – Theory – Paper – 1

1. Birth and growth of Percussion instruments, their development and historical background.
2. Rough knowledge of chapters on percussion instruments in ancient music treatises.
3. Comparitive study of the styles of different percussion instruments. Knowledge of Temple and
Folk music percussion instruments.
4. Concert tradition, media for transmitting music : gramophone, AIR, DD, Cassettes, Disk, use
of audio-visual technological gadgets (electronics, fiber optics, computer)
5. Variety ion ‘Naada’ and and scientific-technical terms

Paper – 2 (Part-1)
1. Individual/separate identity of Percussion instruments.

2. Place of Percussion instriuments in Music, Place of Taala and laya in lyrics and musical
compositions , their scope, limit and importance.
3. Need for separate compositions for percussion instruments and percussion ensembles.
4. Detailed account of Shlokas related to recitation of ‘Paataaksharas’ of percussion instruments,
collection of ‘Jathis’
5. Capacity to write the Taalavadya lessons in notation (Lipi) ( Capacity to write down what is
played)
6.Knowledge of Music Theory Books – historical development, Hindusthani taalas, ‘Navasandhi’
and other rare taalas, Development of ‘avanaddha vadyas’.
7. A rough knowledge of important/great carnatic music artists belonging to this century.

(Part – 2)

1. Knowledge of ‘Nadai-Bhedas’ in taalas and their charectristic features.

2. Knowledge of technical words used in music compositions.
3. Knowledge of compositions in different layas, different taalas and different eduppus.

PRACTICALS – Paper – 1
1. Playing for Adi Tala compositions with complex eduppus, following and ‘Tani vadana’
2. Following and ‘Tani’ playing for compositions in misra chapu and khanda chapu taalas.(15
minutes)
3. Following for ‘neraval’ and ‘kalpana swara’; For the list of compositions in Vidwat
syllabus, good display of following(playing) paying attention to ‘Laya jnanam’ and ‘Rasa-
Bhavas’ for the neraval and kalpana swara portions.
4. Following/playing for the Vidwat syllabus ‘Pallavi’. Doing tri-kaala, Anuloma-Viloma,
Tattakaara – saying and about 15 minutes of playing ‘Tani’.
5. Saying and playing quarter and three-quarter eduppus for complex vishama grahas.
Executing ‘Shatkaala’ – saying – playing.

Paper – 2 (Part-1)

As per the stipulated Music Practicals – Paper -2 –Part -1 - execute the concert and playing elaborate
Tani avartanam for 10 minutes with ‘nadai-bheda’ included.

Part – 2

VIVA:

1. About the propriety and necessity of ‘muktaya’ and ‘teermana’ in a concert in between
Pallavi, Anu Pallavi, Charanam, while singing Varnam, Kriti,etc
2. Knowledge of famous Varnams in practice.
3. Knowledge of speciality of compositions of Thyagaraja Panchratna Kritis and compositions if
Dikshitar and shama Sastri.
4. Points to be followed in playing ‘Tani’
5. The “Manodharma’ of percussionists while playing playing for compositions adhering to the
‘Rasa-bhavas’ of the lyrics.
6. Points to be observed while playing on Mridangam along with other upa pakkavadyas like
Khanjari, Ghata, Morsing, etc. and while playing on Upa pakkavadya with the mridanga. (
how to co-operate with each other – complimenting each other)
7. Points to be observed while playing for lighter compositions likje Devaranama, Javali,
Bhajans and so on.
8. Opinion about following for a ‘Pallavi”

**********************