Prayag Vocals Year 5

Complete detailed study of previous year courses

Ancient forms of anibaddh singing Ragaalap, Rupkalap, Alaptigan, Sththan-niyama, Bidari, Raga Lakshman, Jaati-gaayan and features, Sanyas Vinyasa, Gaikki, Nayaki,

Gandharva Geet (Desi-Margi) showing tirobhav-abirbhav and alpatva bohutva in the course ragas.

In relation to the Shruti-Swar division, the whole history is divided into three main

periods (ancient, middle, modern), the time and difference in the texts of the authors of

these three periods and the opinions described in them, the Shadaj Pancham Bhava and

the andolan number and the number of strings. The relation of length, if the andolan

number of a note is given, then the length of the string is obtained (while both the items of the Shadaj are obtained. Comparing shuddh and vikrit sthaans with the help of their wire lengths.

Creating the sargams of simple rhythms of different ragas with the mind.

A detailed study of the ragas of this year and matching of ragas similar to them,

showing the alpatva-bahutva, tirobhav-abhirbhav in ragas.

Full introduction of this year's talas and showing their contracts in tala-script in

different lyakaris Or to fix the place of starting the dugun, tigun and chaugun of the rhythm.

Writing the song and melody bandish Dugun, Tigun and Chaugun Laykaris in swarlipi.

Essay Raga and Rasa, Music and Fine Arts, Music and Imagination, Influence of Pawan Culture on Hindustani Music

Music and its future, the place of instruments in music, folk music etc. 9. Practice of writing songs and rhythms in any swaralip.

Biography and musical work of Srinivas Ramamatya, Hriday Narayan Dev,

Mohammad Raza, Sadrang Adarang.

Clapping some difficult rhymes. Speaking 3 quantities in two quantities and speaking 4 quantities in 3 etc.

Special Practice of Aalap of Nom Log

Raag Puriya, Gaur Malhar, Chhayanat, Shri, Hindol, Gaud Sarang, Vibhas, Darbari

Kanhra, Todi, Adana 1-1 in these ragas vilambit and 1-1 drut khayal with completely beautiful singing, one dhamar in any two ragas and one in any two

One dhrupad in which it is necessary to do dugun, tigun and chaugun and aad.

Study of ragas and creative execution of tirobhav-abirbhav in ragas.

Full knowledge of Taal Pancham Sawari, Gajjampa, Adha, Mat and Punjabi Talas and clapping them in Thaa, Dugun and Chaugun Layas.

Simple practice of playing on the tabla of teen taal, jhaptal, chartal, ektal, kaharwa, and Dadra talas