HINDUSTANI – CLASSICAL & VOCAL TRAINING
Our Hindustani classical and vocal training module has 4 different modules in each level. Though there is never an end for learning, we have structured the program with specific milestones so that a focused approach towards the student’s goal can be accomplished. The minimum age of the student needs to be 6 yrs and there is no upper limit for age. These are specially designed foundational courses. Interest in music and curiosity to discover the joy of learning are the other prerequisites.
Overview:
This course is ideal for students looking to take their first steps into the world of Hindustani Vocal Music. The course aims at providing a strong foundation where learning is a process of constant discovery. The student acquires the ability to u...
Topics covered:
LEVEL 1
- Prayer
- Swaras and Patterns
- Folk Music
- Swara Sadhana
- Raga
- Chhota Khayal
- Rhythm Patterns and Swara Patterns
- Swar Sadhana and Swara Patterning
- Samooha Gaan- Choral Songs
- Swara Mapping
- Swaras to Compositions
- Laya and Taal
- Raga
- Raga Bhupali
- Dhrupad
- Raga Durga
LEVEL 2
- Swara Identification
- Tala
- Raga Durga
- Raga Exploration
- Swaras
- Raga Khamaj
- Tarana
- Swaras, The Building Blocks of Music
- Laya and Taal
- Tanpura and Tabla
- Raga Bhupali
- Raga Durga
- Alankar
- Raga Characteristics
- Raga Brindavani Sarang
- Tirvat in Bhupali
- Laya and Dhrupad
- Pentatonic Scales
- A Description of Sitar
- Raga Khamaj
LEVEL 3
- Mandra Swar Sadhana
- Composing Swar Vistar
- Swar Vistar in Yaman
- Chhota Khayal in Yaman
- Raga Characteristics and Lakshan Geet
- Tarana in Khamaj
- Bhajan in Khamaj
- Rhythm in Bhajan
- Raga Des
- Vande Mataram
- Margi and Desi Sangeet
- Layakari
- Raga Kafi
- Raga Brindavani Sarang
- Bhajan
- Elements of Composition
LEVEL 4
- Raga Identification
- Thaat System
- Raga Alhaiya Bilaval
- Rabindra Sangeet Composition
- Introduction to Raga Bhimpalasi
- Raga Lakshanas
- Raga Bhairav
- Taal and Laykari
- Bhakti Sangeet - Abhang
- Ragas and Expressions
- Raga Hamsadhwani
- Review Ragas
Intermediate:
To participate or enroll at the Intermediate level, the student / participant must be fully complacent with the Basic module and all the topics mentioned in the 4 levels of Basic module. The student should have at least two years of learning experience with an ability to sing a simple Swara Vistar,Chhota Khayal with self composed Aalap, Taan in at least eight Ragas. The student should be able to sing a Dhrupad composition with Dugun and a Tarana. The student should have the ability to compose a simple Sargam Geet in any of the Ragas learnt. The students who wish to join this level directly need to submit the prerequisite assessment assigned by the academy on enrolment. With the initiation into singing the Bada Khayal Bandish, the student enters the Intermediate level of learning. The Vilambit Laya forms the framework of the Bada Khayal. Practice of holding this slow Laya is given importance here in order to ensure that the foundation and the basics are always intact.
LEVEL 1
- Tanpura
- Bada Khayal Gayaki
- Laya and Taal in Bada Khayal
- BadaKhayal in Raga Yaman
- Shrutis and Swaras
- Gamak
- Raga Malkauns
- Bada Khayal in Yaman - Aalap
- Raga Asavari
- Raga Kedar
- Khayal Composers
- Raga Characteristics-Review
- Thaat and Ragas
- Raga Malkauns-Review
- Revisiting Old Ragas
- Bada Khayal in Bhupali
- Raga Bhairavi
- Raga Bihag
- Two streams of Indian Classical Music
- Ancient Texts and Ragas
LEVEL 2
- Teentaal, Dugun, Tigun, Chougun
- Bhupali Badakhayal Aalap
- Bhupali Trivat and Chhota Khayal Review
- Raga Bhimpalasi Chhota Khayal
- Dhrupad in Bhimpalasi
- Ancient Texts and Ragas Characteristics
- Raga Bageshri
- Raga Bhairav Bada Khayal
- Bhairav Characteristics and Chhota Khayal Review
- Raga Tilak Kamod Chhota Khayal
- Tilak Kamod Jhaptaal Composition
LEVEL 3
- Dugun in Jhaptaal
- Swar Lipi Paddhatis
- Revisit Asavari
- Swami Haridas and Disciples
- Dhamar and Dhrupad
- Raga Bageshri
- Raga Bageshri Tarana
- Raga Tilang
- Bhajan in Tilang
- Classification of Light and Classical Music
- Raga Marva
- Shrui Swar Vibhajan
- Naad, the Physics of Sound
- Raga Marva
- Raga Bhairavi
- Raga Patdeep
- Playing Styles- Gayaki and Tantrakari
- Raga Yaman Bada Khayal With Development
- Taal Roopak
- Raga Bihag Bada Khayal
- Raga Tilak Kamod and Des
- Raga Jaunpuri
LEVEL 4
- Gharana System
- Taal Roopak Dugun
- Bhairav Bada Khayal Review
- Bhairav Jhaptaal -Allah ho Allah
- Raga Bhairav Jago Brija
- Taan Ke Prakar
- Ektaal in Dugun, Tigun and Chougun
- Raga Shankara
- Raga Kalavati Chhota Khayal
- Gamak Ke Prakar
- Raga Bhupali Characteristics
- Raga Bhupali Compositions
- Raga Bhupali Baga Khayal
- Raga Bhupali Chhota Khayal
- Raga Brindavani Sarang Characteristics
- Raga Brindavani Sarang Khayal
- Raga Brindavani Sarang Tarana
- Raga Khamaj
- History- Margi and Desi Sangeet
- Taal Deepchandi
- Ragas and Rasas
Advanced:
To participate or enroll at the Advanced level, the student / participant must be fully complacent with the Basic and Intermediary modules and all the topics mentioned in the 4 levels of both the Basic & Intermediary modules. The student has learnt Chhota Khayal in about fifteen Ragas and is able to present at least 10 Ragas with Swar Vistar Aalap and Taan. The student is able to sing Bada Khayals with Aalap in Yaman, Bairav, Bhupali and BihagThe development of each Raga learnt is detailed and the student is encouraged to sing extempore Swar Vistar and Aalap. Swar Sadhana is done with Aakar, Uukar and Mmkar. Raga Poorvi is the first Raga introduced in this module.
LEVEL 1
- Tanpura
- Thaat and Ragas
- Gamak Ke Prakar
- Raga Purvi
- Raga Hameer
- Raga Tilak Kamod revisit
- Carnatic and Hindustani Ragas
- Ragaanga- an Overview
- Raga Ragini System of classification of Ragas
- Raga Jaijaivanti
- Raga Malkauns Bada Khayal
- Raga Bhairavi
- Ragaang system and Raga Ragini system
- Raga Sohini
- The Melakarta system in Carnatic Music
- Raga Bhimpalasi Bada Khayal
- Raga Kamod
LEVEL 2
- Vilambit Taals with 16 Matras
- Raga Bahar
- Raga Alhaiya Bilaval
- Raga Bhimpalasi Bada Khayal
- Raga Des
- Raga Bihag Bada Khayal Review
- Raga Basant Chhota Khayal and Tarana
- Raga Paraj
- Time theory of Ragas
- Raga Durga
- Raga Patadeep Composition in Taal Rupak
- Raga Todi Chhota Khayal- Langar ka Kariya
- Raga Todi Bada Khayal
- Raga Todi Chhota Khayal Saat Suran
- Raga Deshkar
- Raga Vibhas of Marwa Thaat
- Swar Sadhana with Bhairav and Marva Thaat
- Thaat and Ragas
LEVEL 3
- Raga Jaunpuri Bada Khayal
- Raga Jaunpuri Chhota Khayal Review
- Raga Jaunpuri Chaturang
- Raga GaudSarang
- Ten Raga Lakshanas
- 10 Ashraya Ragas
- Raga Bageshri Bada Khayal
- Raga Jaijaivanti Bada Khayal
- Raga Jaijaivanti Chhota Khayal
- Raga Darbari Chhota Khayal
- Raga Darbari Bada Khayal
- Ragaang Paddhati
- Margi and Desi Sangeet
- The concept of Raga
- Raga Goud Malhar Chhota Khayal Khayal
- Raga Shree Chhota Khayal in Teentaal
- Raga Adana Chhota Khayal
- Raga Shankara Chhota Khayal
- NatyaShastra and Sangeet Ratnakar
- Raga Purvi Bada Khayal and Chhota Khayal
- Raga Desi
- Raga Gaud Sarang Bada Khayal
LEVEL 4
- Raga Multani Bada Khayal
- Raga ChayaNat Chhota Khayal
- Layakari in Taal
- Raga Bhinna Shadja Chhota Khayal
- Raga Marva Bada Khayal
- Raga Jog
- Raga Jog Tarana
- Review Raga Yaman
- Ancient texts
- Raga Shudh Kalyan Bada Khayal
- Raga Shudh Kalyan Chhota Khayal
- Raga Ahir Bhairav Bada Khayal
- Raga Ahir Bhairav Chhota Khayal
- Raga Malkauns Review
- Raga Bhinna Shadja Chhota Khayal
- Raga Madhuvanti
- Raga Madhuvanti Bada Khayal
- Raga Kamod Bada Khayal- Tore Darbar
- Raga Characteristics -Performance aspects of Ragas
- Raga Lalit Bada Khayal
- Raga Lalit Chhota Khayal
- Raga Jog
- Relevance of Thaat system
- Raga Kedar review
Expert:
When someone has reached this level, it is a guarantee that they would have the complete knowledge of Basic + Intermediate and Advanced modules and the various topics mentioned in each of the modules.
LEVEL 1
- Raga Shuddha Sarang
- Raga Puriya Dhanashri Chhota Khayal
- Raga Puriya Dhanashri Bada Khayal
- Raga Madhukauns Chhota Khayal
- Principles of Raga formation
- Malhar ke Prakar
- Miyan malhar
- Gaud Malhar
- Sur Malhar
- Origin and evolution of Dhrupad style of Aalap
- Rasas associated with Swaras
LEVEL 2
- Raga Megh Malhar
- Hemant
- Raga Ramdasi Malhar
- Raga Jayant Malhar
- The Sarang Ang Ragas
- Review Gamak Ke Prakar
- Different Gharanas and approaches
- Gurjari Todi
- Bilaskhani Todi
- Bhupal Todi
- Komal Rishabh Asavari
- Review of Time theory of Ragas
- Grama
- Moorchana
LEVEL 3
- Alhaiya Bilaval
- Devgiri Bilaval
- Yamani Bilaval
- Kakubh Bilaval
- Shuddh Swar Saptak
- Shrutis
- Revisit Ragas Shuddh Kalyan and Jaijaivanti
- Pooriya Kalyan
- Shyam Kalyan
- Gorakh Kalyan
- Raag Nand
- Kalyan Ke Prakar
- Shuddh and Chhayalag Ragas
LEVEL 4
- Raga Desi
- Raga Ahir Bhairav
- Raga Vibhas
- Raga Bhatiyar
- Bhairav ke Prakar
- Classification of Ragas, analysis
- Pooriya
- Chandrakauns
- Hindol
- Nat Bhairav
- Principles of Raga formulation
- Raga formulation in Carnatic Music
- Nayaki Kanada
- Kalavati
- Madhuvanti
- Principles of Laya and Taal
- Taal Concepts in Carnatic Music
- Kanada ke Prakar