Course Duration52 Weeks
Lessons include traditional compositions of different gharans, learning different popular taals (rhythmic cycles), knowing tabla as an accompanying instrument, Preparing students to perform solos in different taals including uncommon taals.
The student will learn in details like structure, beats,playing in diffferent tempos etc of Teentaal, jhaptaal, rupak taal, ektaaltas
learning the background and history of the instrument and its music and musicians.
Explanation of gharanas and their compositions, discussing different composition in context with its relation with other compositions and gharanas(school of tabla playing).
you will learn other short cycled Taals like keharawa, dadra, etc to be able to play with songs.
you will be able to learn how to accompany with vocal and other indian classical instruments.
following few compositions to be taught in above mentioned taals (Tintaal,rupak,jhaptaal,ektaal):
Ateet, Anagata , Peshkar its variations, qayedas, chalan , few gats of different types, Chakradars of different types, Relas,
To teach playing a solo in Madhya Laya,
Listening and appreciation of recordings of old masters of vocal and instrumental music
Once the Student Learns It and is able to Play and Enjoy It , the Art of Tabla Playing Becomes Part of the Life Style Which Inspires One to Explore the Musical Horizon thus Helps and Motivates One towards a Purposeful, Creative and Engaged Lifestyle.
Rythm has been always present in our nature and inside us but in some it has been in unexpressive mode.
Walking styles, movements, interactions, heart beats etc are one of the main medium through which a hidden rythm are visible.
Learning of this art is also skill development but at later stage it aims at more soulful interaction with rythm and music.
mindfulness, focus, composed behaviour are its main outcomes.it elements superficial companions and brings one's soul into a meditative and spiritual mode.
Students enrolling for this course on ipassio can be sure that they receive individual attention from the teacher, as the class strength is limited to 1 or 2 students. It also gives teachers the opportunity, to gauge their students progress in depth and make changes whenever and wherever required, to ensure the student gets the maximum out of this course. Since this course is detailed, students get the advantage of learning intricate details about this art form. The limited strength of the class also ensures that there is a strong bond between the students and their teacher clearing out any inhibitions that the student might have. The sustained guidance available from the teacher ensures that the student does not deviate from set goals or targets. Learning from a revered, experienced exponent of this art form, through the long duration of this course, keeps the student inspired and motivated to achieve more.
Shailendra Mishra ‘TOP GRADE’ artist of ‘ALL INDIA RADIO’ (AIR), was nurtured and seasoned for TABLA playing by eminent gurus like Shree Arjun Rai, Pandit Anand Gopal Bandopadhyay and Pandit Sameer Chatterjee.He also received valuable guidance from Late Pandit Shyamal Bose. He represents both Banaras and Farrukkhabad Gharanas.
At a very young age, he has carved a niche for himself and is regarded as one of the most talented percussionist in India. His playing is signified by authenticity of the Gharanas he represents, clarity and dignity to the ‘bols’, his complete control over laya and a good understanding of the underlying complexities of Taal and Laya. His repertoire is rich and varied, indeed.
In him, one can find both, an able accompanist as well as, a talented soloist.
Winner of many prestigious contests including ‘AIR COMPETITION’, he also has a Master’s Degree in Music (percussion).
He has participated several times in the ‘National Programme of Music’ on AIR as well as on Doordarshan (Indian T.V. channels).He has conducted workshops as well as ‘Lecture Demonstrations’ covering various topics on music especially the Indian rhythm and related aspects of the art of tabla playing.
He has accompanied stalwarts like Ustad Amjad Ali Khan (sarod), Pandit V.G.Jog,(violin),Pandit Shrikant Bakre(vocal),Pandit Rajan Sajan Mishra(vocal),pandit Ulhas Kashalkar(vocal),Vidushi N.Rajam(violin), Smt Laxmishankar) (vocal),Pandit Surinder Singh (vocal) and a host of eminent vocalists and instrumentalists in India and Abroad.
His solo performances and Jugalbandi concerts including the Carnatic percussionists have been greatly admired and applauded by critics and connoisseurs.
Of late, his exploration with fusion music has turned out to be one more feather in his cap.
He has worked with jazz musicians like Lewis Pragasam, Greg Lyons and ‘Gamelan’ (group of Malaysian traditional instruments) musicians too.
On invitation from ‘Indian Council for cultural Relations’(ICCR), Government of India, he has toured different places in India as well as abroad to perform and propagate the art of tabla playing.
ICCR, Government of India had deputed him as third secretary(culture) in the Cultural Centre, High Commission of India, Kuala Lumpur where he was not only teaching this art to the people of Malaysia but also propagating and spreading our culture through musical performances, workshops and seminars.
During his tenure in Malaysia, innumerable concerts, involving world famous artists from India and abroad and many small scale concerts involving the local artists were organized in Malaysia. This sudden increase and awareness regarding Indian classical music among the people of Malaysia was brought about by the efforts of Shri. Shailendra Mishra.
PARTICIPATION IN NATIONAL/INTERNATIONAL PERFORMANCES.
Performed in many concerts and conferences organized by both Government and private organizations
* DEPARTMENT OF EDUCATION, YOUTH AFFAIRS AND SPORTS - PORT BLAIR
* WEST BENGAL STATE MUSIC ACADEMY
* MUSIC ACADEMY- CHENNAI
* HAMSDWANI FESTIVAL OF MUSIC
* KALARASANA FESTIVAL OF MUSIC
* GUNIDAS SANGEET SAMMELAN
* SWAMI HARIDAS SANGEET SAMAROH, BRINDAVAN
* INDIRA GANDHI RASHTRIYA MANAV SANGRAHALAYA, BHOPAL
* ONAM FESTIVAL
* SWAR RANG FESTIVAL
* MALLHAR FESTIVAL, ICCR
* SOURANG UTSAV NEW DELHI
* FESTIVAL OF INDIAN MUSIC AND DANCE, Ravishankar Institute of Music and Performing Arts
* SANGEET NATAK ACADEMY
* BHARAT BHAVAN FESTIVAL, BHOPAL
* FESTIVAL OF PUNJABI ACADEMY
* JAI BHARATI FESTIVAL III (GURU-SHISHYA RATNAVALI)
* TEMPLE FESTIVAL, PUSHKAR.
* AJMER SANSKRITIK SAMAROH, AJMER.
* GHARANA FEST O9
* THUMRI FESTIVAL 2012
* MUSIC IN THE PARK DELHI
TO CELEBRATE 3000 YEAR ANNIVERSARY OF OSH CITY (KYRGHYZSTAN).AUG.-SEP., 2000.
STATEMENTS BY PRINT MEDIA
1. Tabla accompaniment by Shree Shailendra not only supported the vocalist but inspired also. ` Anand Bajar Patrika, Calcutta, 14-09-98
2. …shailendra Mishra accompanied melodiously with the vocalists duo
Hindustan,New Delhi, 01-06-08
3. Though young, one could witness his excellent control over the Bayan (Left hand) at the concert which one develops with thorough practice over a period of time. Being young, Shailendra has a bright future & has proved to be a perfect accompanist as well as a solo performer. He displayed his talent with perfect maturity & mastery. Star of Mysore. 26-08-98
4. Magic of the flute was complemented by the Tabla performance by Delhi based Shailendra Mishra. Chandigarh Tribune 12-08-2000
5. His accompaniment was ultimate. Amar Ujala Chandigarh, 12-08-2000
6. Mr. Shailendra mishra’s accompaniment with the vocalist was not only well coordinated but interesting too. Jansatta, 12-09-02
OBJECTIVE IN LIFE: To bring awareness among the people about the effects and benefits of music.
They need to know who they are, where their roots lie, where they come from and what the purpose of getting a human life is. Today's parents, teachers and the entire system of education demands so much from them that they have become mere machines. They have no time to develop their aesthetic sense, to search within themselves the softer side, to enjoy this human life. We have deprived them of a beautiful phase of life called, CHILDHOOD.
My aim is to slow them down and make them meet their human self. Slowing down does not mean that I want to hinder their progress, slowing down means negating the ill effects of a mechanical life. I want them to know the basic difference between living and existing. They have not been sent in this world to just eat, sleep, earn money, buy luxuries and enjoy the artificial happiness given to them through video games, internet and soft toys. They deserve to enjoy the free gifts of nature too.
I want them to meet their real self which is possible through Music. Music calms down their disturbed minds. It relieves the unnecessary pressure we as parents, teachers and general adults put on them. When they come in contact with real music, they introspect; they go deep down inside their conscience and learn to explore their aesthetics. They become real human being.
My association with different schools/universities including Manhattan School of Music, New York, University of Malaysia, Kuala Lumpur, Delhi University, Delhi among many others has enabled me to propagate Indian culture through music amongst the younger generation.
Some parents who have the time do not have the means, and some others who have both do not have the information. So many times we have seen parents spoiling their children's personalities due to lack of tact of handling the situations or because they get too vulnerable to be able to say NO to their only child. They need to first know their own selves and then become responsible parents. It’s not their fault; it’s a vicious chain which is going down from one generation to the other. We have to break this chain. We have to make them aware of their roots, responsibilities and values.
The study of music can surely make parents understand themselves better and resultantly, their off springs better too.
I feel we need to introduce the parents first to the vastness of Music/rhythm, only then can we imbibe it in their children.
must have Tabla with them. Exposure to Music, Love for Rhythm and Music, Wish to Learn and will to Practice
knowing Basic Strokes and Phrases of Tabla, Be able to recite and Play Few Simple Compositions Like Qayeda, rela etc. Basic Understanding of Laya (Tempo)
Preferable Having Experience of Playing Tabla Solo or Accompaniment With Any Kind of Style.