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4. Madhyama pratham The Praveshika Purna tabla exam evaluates the understanding of various gharanas and vocal styles. It will include concepts such as tuning the tabla, as well as new compositions and ideas such as farmaishi chakradaar, jaati, qualities of a tabla player, and knowledge of solo and accompaniment. Sylllabus Theory 1. Brief history of tabla, its development and changes in recent times. 2. Knowledge of gharanas and baaj. Detailed understanding of Delhi and Lukhnow gharanas. 3. Basic knowledge of following vocal styles Khayal (Vilambit, Drut), Thumri, Bhajan, Taraana 4. Basic knowledge about solo and accompaniment. 5. Desirable and undesirable qualities of a tabla player. 6. Definitions Farmaishi Chakradaar, Bedum and Dumdaar Tihai, Gat, Peshkaar, various types of Parans 7. Ability to write notations of kaydas and relas in teentaal, jhaptaal, and ektaal. 8. (a) Guidelines for tuning the tabla and (b) Knowledge about the use of tablas of various scales for all kinds of music Notes 1. Brief history of tabla, its development and changes in recent times. Click Here 2. Knowledge of gharanas and baaj. Detailed understanding of Delhi and Lukhnow gharanas. Click Here 3. Basic knowledge of following vocal styles Khayal (Vilambit, Drut), Thumri, Bhajan, Taraana Click Here 4. Basic knowledge about solo and accompaniment. Click Here 5. Desirable and undesirable qualities of a tabla player. Read "Solo" section in Solo and Accompaniment 6. Definitions Farmaishi Chakradaar, Bedum and Dumdaar Tihai, Gat, Peshkaar, various types of Parans Farmaishi Chakradaar - A chakradaar includes a tihai-containing tukda which is repeated 3 times in order to land on the sum. It is essentially a tihai played 3 times. A farmaishi chakradaar is a chakradaar of which the "dha" of the first section of the first tihai lands on the sum, the "dha" of the second section of the second tihai lands on the sum, and the final "dha" also lands on the sum. Examples: https://youtu.be/l6ZMb7kb37o https://www.youtube.com/watch?v=Uva2l3rnNLw Bedum Tihai - A tihai with be-dum, meaning no-pause, is a bedum tihai. A bedum tihai has a pause of 1/2 maatra or less. A bedum tihai can't be composed in a taal of which the number of maatras is a multiple of 3 (ex. ektaal, matta taal) Dumdaar Tihai - Dumdaar, meaning "with a pause," implies that a dumdaar tihai has a pause. The pauses may be short or long, and they may also be simple or complex. Usually, a dumdaar tihai has a pause that is more than 1/2 maatra. A dumdaar tihai with complex pauses is sometimes referred to as bikat dum. Gat - A gat is a fixed composition composed by various maestros and composers which provides an experience of various elements in nature through the language of tabla. These elements of nature may include things like the flow of a river, the flight of a bird, or the bouncing of a ball. A gat is completed before the sum, and therefore can be played multiple times sequentially. A gat is usually performed at least twice in a solo performance. More Info Peshkaar - A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. More Info Paran - Connecting to the Sanskrit word "pern," meaning leaf, a paran is a composition with accent-filled, resonance-filled bols. It generally ends with a tihai and can be compared to the structure of a leaf: a main vertical axis which "branches out" into veins on both sides. More Info 7. Ability to write notations of kaydas and relas in teentaal, jhaptaal, and ektaal. Write in Pt. Bhatkhande notation system by default unless specified. Memorize various kaydas and relas. Examples below: 8. (a) Guidelines for tuning the tabla and (b) Knowledge about the use of tablas of various scales for all kinds of music Click Here BACK TO TOP

bibliography Sources used in the making of Tabla Legacy Pt. Suryaksha Deshpande, verbal knowledge and instruction Tabla, Pt. Arvind Mulgaonkar, published by Popular Prakashan, Mumbai, 1999. National Centre for the Performing Arts Tabla Seminar , Mumbai, 1998. Tabla Vadan - Kala Aur Shastra , Pt. Sudhir Mainkar, published by ABGM Mandal, Miraj, 2000. Musical Drums with Harmonic Overtones , Dr. C V Raman, published by Nature (London), Calcutta, 1920. Complete Tabla , Amod Dandage I thank my parents in helping to translate Hindi and Marathi texts into English and allowing me to understand core concepts. I thank my teacher and classmates for their direction, optimism, and support in the development process. I thank the authors of the sources above for their eye-opening knowledge revealed to the world in the forms of books and seminars. I thank God for the opportunity to publish this website.

laGGI A short, attractive theme played in drut laya in taals such as dadra or keherwa. It is one of the smallest expandable compositions, of which the variations or referred to as "laut-palat," meaning "back and forth," referring to the combinations made in the variations of the laggi. A laggi is a useful composition for accompaniment. Various types of bols can be found in laggi as it is freeform in structure. It my be quite aggressive and energetic, yet is usually used for light accompaniment and semi-classical music. They may be utilized in bhajans (bhajani theka followed by dha dhin na da laggi), qawaali, ghazal, thumri, etc. Apart from singing and instrumental accompaniment, laggis have become popular in the Bollywood musical industry as well. Examples: BACK TO TOP

rela A rela is an expansionary composition which begins with a vowel but ends with a consonant phrase. A rela has rapid bols and is played in drut laya, helping to create a harmonious chain or musical flow. Many relas are abundant in consonants. A rela is said to be named from "rel-gadi," which means train. Rela also means flow, like that of a river. A rela itself has a harmonious flow (similar to a train or river) and many relas create some sort of a buzzing sound. While rela is also an expansionary composition such as kayda and peshkaar, it is not as expansionary as kayda because of the lesser variety of bols compared to that of a kayda. Bols are oftentimes repeated. The "laut-palat" principle is used to improvise the rela, and the same palta may be repeated multiple times in order to create a chain. Additionally, a rela may be played in the form of a rou , which creates a harmonious chain given the fact that a rela has consonant repetition. Common bols used in a rela are “TRKT," "DRDR," "dhinegene," etc. The baya also has a prominent place in rela. Oftentimes, work on the baya is spotlighted in order to show the harmony and flow of the rela. Additionally, because of the disruption caused by playing ke and ge in various frequencies on the baya in a rela, a tabla player may replace all bols on the baya with “ge” in the bhari section and “ke” in the khaali section. In relas with majority consonant usage and just a few vowels such as “dha” and “dhin” in between, the vowels are given more weight and volume in order to balance the composition. A rela is usually played after kaydas in a tabla composition and is played in drut laya as the flow created by the heavy and closed consonants requires a fast speed in order to appear appealing. Additionally, the placement of relas is important because they are usually played in the 2nd half of a performance, right after kaydas, and serve as exciting, harmonic, compositions that engage the audience in the form of patterns and speed. Sometimes, an emptiness is experienced while playing "ta" in the khaali section of a rela because the harmonious chain is disrupted be a small pause. To combat this, tabla players will play "take" instead. For example, "taSTRKTTK" will become "takeTRKTTK," ensuring that the flow is not disturbed. BACK TO TOP

eshan.live ABOUT US Eshan Ankulkar While taking my Visharad Pratham exam in New Jersey, I experienced the difficulty of gathering English theoretical information about tabla and communicating it using English vocabulary. While my dad very well had a collection of Hindi and Marathi language textbooks, I found it relatively hard to read and understand tough grammar as I did not have as much experience reading advanced texts in such languages as some students in India. Realizing that this was a problem that potentially thousands of students across the world may face, I imagined an online website that provided tabla students around the globe with the opportunity to access information regarding tabla history and theory with ease. My tabla instructor, Pt. Suryaksha Deshpande, provided me with extensive knowledge and verbal examples that comprise of a significant portion of the content of the website. With support from my parents and permission from my guru, I have the honor of presenting this website to bright, eager students everywhere. Tabla Legacy provides students from all over an opportunity to review core tabla knowledge in English. I hope you find this content useful! Eshan's teacher, Pt. Suryaksha Deshpande, is an experienced tabla player, teacher, and scholar. He is a disciple of Pt. Arvind Mulgaonkar of the Farrukhabad Gharana lineage. He is the founder of Anubhooti School of Indian Classical Music based in New Jersey. We thank him for his blessings and positive support in building this informational website. Pt. Suryaksha Deshpande www.anubhootiusa.com Pt. Arvind Mulgaonkar Ut. Amir Hussain Khan

practice exams This page includes practice exams for the written portion of tabla curriculum. In this section, students will be given a specific amount of time depending on their level and will be asked to write essays for each question. The first question asked is often mandatory, but you will only need to complete 4 more questions out of the remaining questions, in order to complete a total of 5. If there are more than 5 questions included on the paper, the student may have a choice as to which to answer. For Visharad Pratham and Visharad Purna, the examinee will have two separate sessions to complete two different written exams. Praveshika Purna Set 1 1. Write the notation of any two from the following. (Required) a) Roopak and jhaptaal as per Pt. Bhatkhande and Pt. Paluskar notation systems. b) Single and double of teentaal as per Pt. Bhatkhande and Pt. Paluskar notation systems. c) Sum to sum tukda in teentaal and jhaptaal. 2a. Fill in the blanks. a) The sign for khaali as per Pt. Paluskar notation system is _____. b) There are _____ maatras in the second vibhaag of deepchandi. c) There are always _____ intervals in a tihai. d) When the distance between two maatras is less, the composition is in _____ laya. e) The sum of roopak is on the _____ beat. 2b. Match the corresponding terms from Group A to Group B. Group A: kayda, deepchandi, dhumaali, theka, chautaal Group B: thumri, expandable composition, first composition of taal, pakhawaaj, bhajan 3. Example, in detail, vilambit, madhya, and drut laya. 4. Describe the taals ektaal and chautaal and distinguish between their characteristics. 5. Explain the playing techniques of TRKT, GDNG, trake, KTTK, and DRDR. 6. Define the following terms: rela, palta, uthaan, laggi, chakradaar. 7. Describe Pt. Paluskar notation system while providing suitable examples. Additional randomized questions After explaining all types of layas in detail, explain which laya each of the following compositions can be played in. Laggi, kayda, peshkaar, rela Write a tukda in jhaptaal using the Pt. Bhatkhande notation system. Then write the tigun of jhaptaal in Pt. Paluskar notation system. Define mukhda and mohra. Afterwards, compare and contrast kayda and rela. Compose a tihai in roopak with 14 maatras to spare, a 1 maatra pause, and while using the bol "TRKT". First explain your mathematical calculations to understand how many maatras will exist within each of the 3 divisions of the tihai, then write the tihai down. Differentiate between the playing techniques of the bols "GDNG" and "GDGN". Madhyama Pratham Set 1 1. Write the notation of any three from the following: (Required) a) Tigun of ektaal as per Pt. Paluskar notation. b) Dumdaar tihai in jhaptaal. c) Dugun of dhamaar as per Pt. Paluskar notation. d) Keherwa laggi. e) Teentaal gat. 2. Fulfill the following. a) What are the similarities and differences between teentaal and tilwada? b) Use Pt. Paluskar notation to write teentaal and tilwada. c) What are the ways in which teentaal and tilwada are used in accompaniment? 3. What is khula baaj, and what is band baaj? Explain using suitable examples. Describe which gharanas in tabla are known for using khula baaj and band baaj respectively. 4. Describe the following vocal styles, explaining how tabla accompaniment should be done for each. Khayal, taraana, thumri 5. What theories exist regarding the evolution of tabla? Afterwards, briefly contrast tabla solo and accompaniment and then list the main skills involved in each respective category (solo and accompaniment). 6. Define and elaborate on the following terms with suitable examples: Farmaishi chakradaar, peshkaar, paran 7. Explain the process of tuning the tabla. Then, describe how tablas of different scales are used in different kinds of Indian Classical Music. Madhyama Purna Set 1 1. Write the notation of any three from the following. (Required) a) Theka of rupak in kuwaad b) Theka of teentaal in biaad. c) Kamaali chakradaar in teentaal. d) Gat-kayda in teentaal. e) Tigun of Ektaal in Pt. Paluskar notation system. 2. Briefly summarize the styles of dhrupad, dhamaar, ghazal, and tappa. Then, in a well written analysis, differentiate and contextualize dhrupad vs. khayal and the history surrounding both. 3. Quickly summarize the accomplishments of Lucknow gharana. Afterwards, describe the baaj, thought process, and history of Farrukhabad gharana. 4. Describe the history of tabla, as well as relevant theories of origin, in detail. 5a. Define aamad, chaupalli, and kamaali chakradaar. 5b. Explain the best practices of accompaniment towards bada khayal. 6. How does taal provide a valid framework for Indian Classical Music? How does taal relate to tabla and tabla compositions? 7. Analyze peshkaar, kayda, and rela in terms of the following components while contrasting between the compositions. Placement, expandability, ability to be improvised, and types of bols utilized. Visharad Pratham (Theory I) Set 1 1. Write the notation of any three from the following. (Required) a) Chakradaar in chautaal. b) Dumdaar tihai in roopak. c) Aad and biaad laya of dhamaar. d) Tukda in taal sawari. e) Aad and biaad laya of ektaal. 2. Explain the importance and chronological order of peshkaar, kayda, rela, and gat in tabla solo-playing. 3. Briefly give information about gharanas in tabla. Compare and Contrast the features and playing techniques of Delhi and Lucknow Gharanas. 4. Write about various changes and developments that took place in the history of tabla from its origin to present time. 5. Include detailed information about various riyaaz techniques to improve the balance between the daya and baya. 6. Point out the contributions of the following artists in tabla (any 3). a) Ut. Salaari Khan b) Pt. Madhavrao Algutkar c) Ut. Inam Ali Khan d) Pt. Purshottamdas Pakhawaaji e) Ut. Karamtullah Khan 7. Write 2 bedum and 2 dumdaar tihais in ada-chautaal and jhaptaal. Example randomized questions Imagine some chakradaar in teentaal with 32 maatras to spare and a pause of 1 maatra in between the 3 divisions of the chakradaar. First, explain how many maatras will be in each of the 3 divisions/tihais of the chakradaar and show your math calculations. Then compose a chakradaar with those characteristics using the bol "DRDRKTTK" somewhere within the chakradaar, and write it using Pt. Bhatkhande notation system. Visharad Pratham (Theory II) Set 1 1. Write notation of any 3 within the following. (Required) a) Dumdaar tihai in ektaal b) Kamaali chakradaar in roopak c) Kuwaad and biaad laya of teentaal d) Farmaishi chakradaar in ektaal e) Tigun and chaugun of deepchandi as per Pt. Bhatkhande notation system 2. Define taal and explain the relationship between taal and theka. Explain the importance of taal and theka in Indian Classical Music. 3. Define the following terms with suitable examples (pick 5). gat-paran, mukhda, peshkaar, farmaishi chakradaar, mohra, chalan, aamad 4. Explain the classification of Indian Classical instruments while providing suitable examples for each category. 5. Define laya and layakari, then write in detail about the relationship between the two. 6. Write the similarities and differences between the following sets of taals (any 3). dhamaar and ada-chautaal teentaal and tilwada tevra and pashto jhaptaal and sooltaal 7. Explain rela, then write a tisra jati rela in jhaptaal along with 4 paltas and a tihai. Afterwards, write a tukda and bedum tihai in teentaal. BACK TO TOP

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peshkaar A peshkaar is an expansionary and improvised composition played in vilambit laya. It ends in vowel phrases such as "tin na" and "dhin na" and is used to unfold the taal at the beginning of a solo performance. A peshkaar shows a tabla player's expansionary process and understanding of taal. Peshkaar means "pesh karna," or to present. It utilizes the essence of naad from both the daya and baya in order to experience the taal from different angles using different bols and patterns.The Peshkaar presents an opportunity for the tabla player to take a lot of liberty to improvise within the taal. The peshkaar may show the vibhaag/divisions, khaali, and bhaari components of the taal. In general, the chronological order of tabla has been adapted from that of vocal singing. The performance laya starts from vilambit all the way to ati-drut. When considering a human lifestyle, the body needs a warm-up phase or interval in order to adapt to changes (such as weather, time changes, different behavioral patterns, etc). Following this need, peshkaar serves as a “warm-up” for the workout. Tabla in itself is a both psychologically and physically intensive instrument. This “warm-up” is a good exercise to prepare for the powerful kaydas and relas that may be played later. Peshkaar is a culmination point of intelligence, deep thinking, deep theoretical study, riyaaz, bol clarity, and aesthetic all at once, and thus is a valid point of introduction for the solo. Ut. Alla Rakha Khan said that peshkaar is like "pej katna," or cutting the rope of a kite. Not all the rules that apply to kayda are applicable to peshkaar. For example, almost all bols in tabla can be played within Peshkaar. However, "tite" is usually not played. Laya, jati, points of emphasis (wazan), khali/bhari, etc are all kinds of aspects that can be implemented in peshkaar. Although the composition may be similar to kayda, peshkaar has more room for spontaneous improvisation. Unlike a kayda, the distance between maatras has a very big importance in peshkaar. Peshkaar should be learned under the guidance of a capable guru. It requires a lot of personal thought, experience, and maturity. Some stalwarts are able to judge a tabla player’s candidacy simply by his peshkaar. A traditional peshkaar should not be memorized, but rather spontaneously “thought of” within the constraints of music and with an organizational, sensible pattern. A peshkaar mukh in the Delhi Gharana usually starts with dha, while a popular theme in the Farukhabad Gharana starts with “dhinSkdadhina” and has gained prestige due to the works of Ut. Ahmed Jaan Thirakwa. In Delhi Gharana peshkaar, whenever a design is produced in the peshkaar and a different laya is explored (such as 1.25 or 1.5), even then, the composition will ultimately end in the original laya. It will usually end in equi-tempo even when other patterns were explored. In the Farrukhabad Gharana peshkaar, bols such as "dhinSkda," "dhatit," "ghidan," "trake," "KTTK," and "tinetinakena" can be found. They utilize various kaydas in the peshkar in order to enhance the entertainment value. BACK TO TOP

Gat-paran A gat-paran is a composition with open, prominent bols. A gat-paran is a paran that uses the language of a gat. Definition of gat: Click Here Definition of paran: Click Here BACK TO TOP

TAAL AND THEKA Taal The technique of measuring time in musical compositions is called taal. Historical definitions The practical and cyclical division of time established in music- Sangeet Makarand The medium in which vocal music, instrumental music, and dance establish themselves - Sangeet Ratnakar The medium which measures the activities of vocal music, instrumental music, and dance - Sage Bharat Muni The counting and striking with hands, or closing and opening the fingers during a music performance - Sangeet Chintamani The common theme in all perspectives is that taal is a tool of measurement. The technique of measuring time in musical compositions is called taal. It derives from a pre-conceived and stable idea of time that flows cyclically Can be understood by grasping sashabda (with sound) and nishabda (without sound) aspects of music and time Taal is a base with a specifically defined number of figures/maatras (Teentaal has to have 16 maatras, while Jhaptaal has to have 10 maatras). Instruments are not necessary to express taal, we can experience taal simply through sashabda / nishabda aspects (ex. Hasta-kriya / taali-khaali with hands) “Blank Canvas” with set maatra boundaries The compositions within a musical performance are based on a particular taal Creation Process For Each Taal First the number of maatras in a taal are decided In accompaniment, the number of maatras usually corresponds to the type of composition of the main artist Dhrupad/Dhamar employs taals with large number of maatras, taals for Khayal are usually shorter (at most 16 maatras) The rasa (mood) created in vocal music can be related to the length of the Taal Smaller taals more useful for shringar rasa Longer taals more useful for shanta rasa Once number of maatras are finalized, the taal is divided into khand (number of subsections) Then, placement of taali/khaali for the taal is finalized Bols are used to fill in the outline and characteristics of the taal appropriately Taals for Dhrupad/Dhamar had a more mature and serious feel. In ancient times, Dhrupad/Dhamar usually employed taals with a very high number of maatras. Taals for Khayal also include those with relatively smaller maatras (7, 12) Theka The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. Theka is the first bandish of taal. In other words, it is a composition which can be played through an instrument such as the tabla or pakhawaaj in order to express a taal. Using a musical instrument, we can employ appropriately designed bols to fill each maatra, and multiple maatras make up one awartan, and like that one awartan of theka is produced There are multiple variations of theka for each taal. A taal can be played in different ways (Jhoomra, Roopak, etc) Tilwada, punjabi can be thought of as thekas. Tilwada is a theka of teentaal. The vibhaag employed during tilwada is the same as that of teentaal. Theka is a particular identity designated to the context of the performance and to the personality of the tabla player The theka for accompanying multiple singing compositions may differ, even in the same taal Theka is designed based on the nature of the singing composition During a singing, instrumental, or dance performance, taal can be announced directly but the theka is not A taal doesn’t automatically give us the theka, whereas each theka is based on a particular taal. Taals of equal maatras can have different thekas The changes and variations within theka can’t distort the boundaries set by the taal Dhrupad/Dhamaar employs theka with khula (open) bols In Khayal, theka is employed, especially in vilambit laya, may make use of multiple bols within one maatra in order to decorate the laya and fill in the gap between maatras in vilambit laya. They may also play a lot of bols before the khaali or before the sum in order to show emphasis In general, a taal is straightforward and is bound to the number of maatras within the designated laya. In the musical boundaries of the taal, theka can be played. The utilization of various organized bols in order to express a particular taal through a musical instrument is called theka. Some stalwarts argue that pure Vilambit Khayal itself does not show us the pattern of Taal, whereas Dhrupad/Dhamar directly follows Taal (some Dhrupad singers may even show the taal on their hand). Bandish of Dhrupad/Dhamar directly indicates the taal, whereas this is not the case for Khayal. One proof of this is that it is impossible to start with a tukda/gat at the beginning while accompanying Khayal sangeet. Additionally, the singer may need to indicate the speed to the tabla player through a TRKT at certain times when performing extremely ati-Vilambit Ektaal as the words of the singer may not directly indicate the taal or speed. Khayal sangeet can be considered theka sangeet. There are some skeptics to this idea, who argue that there are some examples of Khayal bandish that demonstrate the structure of taal. So, there are some counterexamples to this general observation. The Interrelation Between Taal and Theka Taal is definite. Even without bols played on an instrument, it can be expressed via hand gestures. Theka depends on the taal and is constructed with its characteristics in mind. In order for taal to be musically useful, theka is necessary. During accompaniment in various layas, it is important not to disturb the nature of the taal. Different types of thekas such as Vazandaar (weighty) theka, Bhareev (granulous) theka, or Danedaar (bols that still give the overall ambiance of the cycle) theka can be employed to express the relation between taal and the singing/instrument/dance composition that is being accompanied. BACK TO TOP

Tabla Legacy stimulates knowledge and understanding of tabla, one of the most versatile instruments in Indian Classical Music. Students can learn core theoretical knowledge helping them in exams established by institutions such as Akhil Bharatiya Gandharva Mahavidyalaya and others.  structured tabla database comprehensive and Categorized Tabla Legacy stimulates knowledge and understanding of tabla, one of the most versatile instruments in Indian Classical Music. Students can review significant components of the theoretical aspects of tabla, which will also help them in exams established by institutions such as Akhil Bharatiya Gandharva Mahavidyalaya and others. Tabla Legacy supports levels from Prarambhik (Introductory) to Visharad Purna (Bachelor's Part I). Tabla Legacy hopes to stimulate a learning process by providing information that can be analyzed for tabla examinations and personal development. Tabla Visharad Purna notes for theory-based knowledge are available as part of Advanced Content . HOW TO USE : Click on your desired exam level in the "THEORY" section. Alternatively, visit one of the several pages under "FUNDAMENTALS" in order to grasp the most essential information about tabla. Advanced Content is available for purchase. WHAT IS TABLA?

TABLA STRUCTURE tabla legacy NOTES A "tabla" comprises of the daya and baya. The entire drumhead, including the gajra, is called the pudi. Tabla players play the daya with their dominant hand, and the baya with their non-dominant hand. Daya The daya's body is hollow and made of wood. A separate daya can be made for each swar, or musical note. For example, C sharp and F dayas have different diameters and dimensions according to their physical characteristics. The tabla pudi is usually made of goat skin. The incorporation of shahi allows for a greater scope of resonance. Baya In ancient times, the baya used to be made out of clay, but is now made out of various types of metals such as steel or copper. Both the daya and baya can be tuned to a particular frequency. The gatthe may be pushed down or pulled up to increase or decrease the pitch, respectively. For smaller increments of change, a player may hit the gajra with a hammer downwards or upwards, increasing or decreasing the pitch, respectively. Hitting downwards increases the tension of the pudi while hitting upwards eases the tension. Tuning and Various Scales BACK TO TOP