<ul>
	<li>Knowledge of Thaath,Shudha Swaras, Vadi, Samvadi, Audav-Shadav,Aaroh-Avroh and one Chhota Khayal in each raga of the first year course.</li>
	<li>Knowledge of Shudha and Vikrit Swaras, Alankar, Nad, Saptak, Mela, Raga, Jati, Alap, Tan and Pakar.</li>
	<li>Knowledge of Taal Keherva, Taal Daadra, Taal Teen Taal.</li>
	<li>Ragas: asavari (shuddha rishabh), Bibhas,Kaafi, Khamaj, Bhup, Bageshri, Vridavani Sarang, Bhimpalas, Durga, Des.</li>
</ul>

<ul>
	<li>Matric Music Knowledge of Sangeet Dhwavni, Naad, Shruti, Saptak, Aaroh-Avroh, Gruh, Ansh, Nyas Swar, Purvang, Uttarang, Purva-Uttar Raag, Shudh, Chayalagh, Sankeerna Raag, Vakra Swar, Meend, Kampan, Sparsh Swar, Gamak, Ghaseet.</li>
	<li>Geet Ke Prakat &ndash; Dhrupad, Dhamar, Khayal (Vilambit), Drut Bhajan.</li>
	<li>Knowledge of systems of Hindustani and Carnatic music</li>
	<li>Swaralipi of Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande paddhati.</li>
	<li>Biography of Pt. Vishnu Digambar Paluskar and Swami Haridas, Alp Parichay of Gandharva Mahavidyalaya.</li>
	<li>Raag &ndash; Pratham Varsh ke raagon ki punaravrutti, Bade Khayal in Yaman and Bhup Raag (Keval Bandish), Alhaiya Bilawal, Vrundavani Sarang, Bhairav, Bihag, Kedar, Tilak Kamod, Asasavari, Bhairavi. In these Raag Prarambhik Alap and Madhya Laya Khayal with Alap Taan.</li>
</ul>

<ul>
	<li>Madhya Laya Khayals with improvisations in Jaunpuri, Malkauns, Hamir, Patdeep, Tilang, Deskar, and Kalingda.</li>
	<li>Vilambit and Drut Khayals with improvisations in Bhoopali, Yaman (Kalyan) Bageshri and Bihag.</li>
	<li>Tala: Jhumra, Vilambit Ektal, Sultal, Tilwada, Dhamar.</li>
	<li>Definition of Anulom, Vilom, Meend, Gamak, Sut, Ghaseet, Jamjama, Murki, Choot.</li>
	<li>Writing Dugun and Chaugun of Dhrupad and Dhamar; detailed knowledge of Swaralipi of Vishnu Digambar and Bhatkhande paddhati.</li>
</ul>

This course helps you&nbsp;find your natural and expressive singing voice. You will learn the basis of melody, pitch, rhythm and timing. You will go through a range of exercises which help you with your breath, posture, attitude and release. You will learn to sing popular songs that get you started on the journey of performing in front of audiences.&nbsp;

<ul>
	<li>Madhyam Laya Khayals with improvisations in Chhayanat, Kamod, Gaud Sarang, Jaijaoiwanti, Pooriya dhanashree, Shankara; Vilambit and Drut Khayals with improvisations in Jaunpuri, Malkauns, Bhairav, Bhimpalasi, Brindavani Sarang and Kedar.</li>
	<li>Taal - Rupak, Dipachandi, Chautal, dugun.</li>
</ul>

<ul>
	<li>Learn breathe control</li>
	<li>Learn about vocal range</li>
	<li>Learn alankars, sargams</li>
	<li>Learn basic talas used in film music</li>
	<li>Learn few filmy ghazals</li>
</ul>

<ul>
	<li>Learn about voice textures</li>
	<li>Learn breathing techniques</li>
	<li>Learn intense alankars</li>
	<li>Learn tala orientation</li>
	<li>Learn filmy geets</li>
</ul>

&bull; Learn expressions of music

&bull; Learn differences between straight tone and vibrato

&bull; Learn basic aalaps

&bull; Learn gamaks

Definition: sangeet dhvani, naad svar chal svar, achal - svar, shuddh svar, vikrt svar, aaroh, avaroh, vaadee sanvaadee , lay, maatra, sam, taalee khaalee, aur aavartan

Raga Introduction - Brief introduction to the Ragas of the course.

Rhythm Introduction - Brief introduction to the rhythms of the course.

Five simple Alankar.

The practice of singing the seven shuddha and vikrit swaras.

Raga Bilabal, Yaman, Bhupali and Khamaj.

Taal - Complete introduction to Dadra, Kaharwa and Tintaal and practice of speaking as if by clapping hands.

Definition: Two musical systems of India, Sound, Origin of sound, Naad, Naad-sthan, Shruti, Swar Prakrit Swar Achal and Movable Swar, Shuddha and Vikrit-Swara (soft and intense), Saptak (Mandra, Madhya, Tar), thaat, raga, varna (sthayi, aaroh, avroh, sanchari), alankar (palta), raga jaati (adav, shadav, sampurn), vadi, samvadi, anuvadi, varhit swar, pakad alap taan, khayal, sargam, sthayi, antara, lay (vilambit, madhya, drut), matra, rhythm department, sam tali, khali theka, avartan, thah and dugun.

Brief Introduction to Ragas of Raga Introduction Course.

Complete introduction to the rhythms of the rhythm introduction course and practice writing it in melody and duguns.

Raga recognition by writing swar samuha.

Elementary knowledge of any one system of Vishnu Digambar or Bharat Khande Swarscript.

Brief biographies of Vishnu Digambar and Bhatkhande and a brief introduction to&nbsp;their musical works.

Definition and Simple Explanation Sound, Origin of sound, Vibration, andolan (regular irregular, steady unsteady andolan), Movement number, Three characteristics of Naad, Naad, that high-lowness of andolan related to number, Naad and Shruti, Types of song

Bada Khayal, Chhota Khayal, Dhrupad and Lakshan - Components of the song (Sthayi, Antara, Sanchari, Aabhog), Janak Thaat, Janyaraga, Ashrayaga, Graha Ansh, Nyas, Vakra-Swara,

Samay time and Purvanga-Uttrang of the octave, Wadi Swara at the time of Raga Relation to, east-north raga, tigun, chaugun, mead, kana, sparsh-swar and vikrit swar

Raga Introduction: Complete introduction to first and second year ragas and practice of writing them in swara script including thaat, swar, aroh avroh, jaati, pakad, samay, varjyaswar and alap taan.

Taal Introduction A complete introduction to the Talas of both the years and the practice of writing them in Wah Dugun and Chaugun.

Knowledge of Bhatkhande vowel script system.

Melody Knowledge of telling similarities and differences in different ragas.

Brief biography of Tansen and Amir Khusrau and introduction to their musical works.

Vocal knowledge Special knowledge of singing and recognizing pure, soft and loud voices Practice of singing and recognizing difficult vocal groups than in the first year

Rhythm Knowledge- Showing the dugun and chaugun rhythms by clapping or with the help of swaras.

The practice of singing difficult alankars in sargam and aakar.

Chhote-Khyal in Raga Bageshree Durga, Asavari, Bhairavi, Vrindavani Sarang, BhimPalasi and Desh Ragas.

Practice of one-by-one chota khayal and swara vistaar in Yemen, Bihag, and

Alhaiya-Bilawal.

Practice singing in dhrupad thah, double and chaugun rhythms in any two ragas of the course.

In chota khayals, take aalap and simple tone from your mind and mix it with the tabla.

Taal- Ektaal, Rupak, Tivara, Jhaptal and Sul Tal - Knowledge of clapping in dugun and chaugun.

Raga recognition.

Full description of the Tanpura and Tabla and the full knowledge of the combination of them, the breadth of the andolan and the subsequent division of the 22 Shrutis into seven pure swaras (modern opinion), a more complete and clear description of the total terms of the first and second years. Definition, special rules of ghats and ragas, subtle distinctions between Shruti and Naad, according to the mathematical composition of 72 ghats and the origin of 484 ragas from one ghat, three classes of ragas according to tone and time (Ratha Komal Raga, Ray-Th Shuddha Vale Raga and Ga-Ni Komal Raga)

Sandhi Prakash Ram, Merits and Demerits of Singers, Types of Taanas (Shuddha or Saral, Koot, Mishra, Bol Taan), Ramak Aad, Types of Permanent Songs Bada Khagal Dhamar Hori, Tappa Ka Detailed Description

Complete introduction to the ragas of the course, including swara expansion and taan

Full introduction of all the taals of this year and last year to their contracts in dugun, tigun and chaugun rhythms.

Knowledge of the method of finding the place of starting a song in a rhythm, etc., through mathematics.

Writing the swara script of the songs Dhamaar and writing the verse in Dugun, Tigun and Chaugun.

Raga recognition by difficult swaras.

Comparison of Prakriti Ragas, Knowledge of Dugun, Tigun and Chaugun rhythms, only the initial introduction of Adalaya the practice of the use of vocal chords

One chota khayal each in Tilakkamod, Hamir, Kedar, Tilang, Kalingra, Patdeep, Jaunpuri, Malkosh and Peelu alap, taan and bol taan

Badanyal &ndash; Bageshree, Asavari, Vrindavani Sarang, Bhimpalasi, Desh, Jaunpuri, Hamir, Kedar Patdeep and Malkosh in these 10 ragas

In any of the 6 ragas, there is a lot of khayal, anap taan, bol taan etc.

Out of the above ragas, one dhupad in any two ragas and one chamar in any one raga including Dugun, Tigun, and Chaugun

The practice of speaking the beats of the rhythms of Deepchandi, Jhumra, Dhamar and Tilwara in thaah, dugun, tigun and chaugun laps

Types of songs Tappa, Thumri, Tarana, Tirvat, Baturang, Bhajan, Geet, Ghazal etc (management, vaastu etc.) metal unbounded songs

The division of the Shrutis into notes (modern and ancient) of twenty-two (22) strings, the length of the drawn strings&#39; relation with the height-depth of the sound

Comparison of swaras of southern and northern Hindustani systems in determining the timing of ragas. Significance of Purvanga-Uttrang, Chhayalag and narrow raga, Parmel Praveka raga, Time-cycle of ragas,

Composition of 32 Ghats from the North Indian saptak, Ancient names of modern Thaats, Tirobhava appearance, Alpatva Bahuva comparative study of ragas and raga-recognition.

Comparative study of both Vishnu Digambar and Bhatkhande scripts Practice of writing songs in both systems

The biography of Bharata, Ahoyal, Vyankatamkhi and Mansingh and the description of their musical works.

Method to find out the place of starting of all the talas of the course of dugun, tigun, chaugun by mathematics. Practice of writing the different laykaris in tala-script other than dugun, tigun, chaugun.

Special practice of vocal knowledge, Knowledge of singing and recognizing difficult vocal groups

Special knowledge of mixing Tanpura and Tabla performance of different rhythms by clapping with the help of numbers

Dugun (two quantities in one quantity), Tigun (3 in 1 st) Chaugun (4 in 1), Aad (3 in 2) and reverse of Aad (3 in 2 quantities), Pauguna (3 in 4) and Savagun (4 In 5) the display of quantities. hard and beautiful alaps and tana exercises

Raga Deshkar, Shankara, Jayjayvanti, Kamod, Marwa, Multani, Sohni, Bahar, Purvi in these ragas 1-1 with vilambit and drut khayal and Aalap, Tan, Bol-tan

In any two of the above mentioned ragas, 1-1 Drupadh and in any two 1-1 Dhamar with only Thah, Dugun, Tigun, and Chaugun and ability to sing a chord

Special proficiency in singing Khayal

Practice of speaking Jat and Aada Chartal in full, General knowledge of Tappa and Thumri contracts.

Identifying ragas by swara-groups.

Showing equality, variation in ragas in singing

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&#39;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&nbsp;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

<ul>
	<li>Introduction to Flute</li>
	<li>Understanding rhythm and tempo</li>
	<li>Simple Tunes</li>
	<li>Introduction to Ragas</li>
	<li>Raag&nbsp;Hamsadhwani</li>
</ul>

<ul>
	<li>Voice Basics: Breathing, Control, Diction
	<ul>
		<li>Understanding the mechanics of breathing while singing and applying proper breath control</li>
		<li>Developing clear and articulate diction while singing</li>
		<li>Improving vocal range and tone quality by practicing scales, arpeggios, and other vocal exercises</li>
	</ul>
	</li>
	<li>Hindustani Classical Music Theory &amp; Practice
	<ul>
		<li>Basic principles of Hindustani classical music, including the study of raags (melodic frameworks), taals (rhythmic cycles), and sargam (vocal notation)</li>
	</ul>
	</li>
	<li>Light Music: Gazals, Bhajans, Folk &amp; Bollywood Songs
	<ul>
		<li>Learning to sing popular Indian light music genres such as gazals (lyric poetry), folk songs, and Bollywood film songs</li>
		<li>Analyzing and interpreting lyrics and melodies of light music compositions, and learning to apply appropriate vocal techniques and styles to different light music genres</li>
	</ul>
	</li>
	<li>Vocal Performance - Preparing and performing Indian light music compositions in a live setting, and developing performance skills such as stage presence, mic technique, and audience interaction</li>
</ul>

<ul>
	<li>Matric Music Knowledge of Sangeet Dhwani, Naad, Swar, Shudh Swar, Vikrut Swar, Varjit Swar, Saptak, Mel, Alankar, Raag, Jati (Audav, Shadav, Sampoorna), Vadi, Samvadi, Pakad, Alap, Tan, Swar Malika, Lakshan Geet, Sthayi, Antara, Lay (Vilambit, Madhya, Dhrut), Matra, Taal, Bibhag, Sam, Khali.</li>
	<li>Ragas: Bageshri, Khamaj, Yaman, Kaafi, Bhimpalasi, Bhoopali.</li>
	<li>Tala: Ektal, Chautal, Jhaptal.</li>
	<li>&nbsp;Knowledge of systems of Hindustani and Carnatic music; specialities of Nad, Varna, Swaralipi of Vishnu Digambar and Bhatkhande paddhati.</li>
	<li>Definitions: Khayal, Dhrupad, Dhamar, Tappa, Thumri, Bhajan, Ghazal, Shruti, Janak and Janya Raga, Grah Ansha, Nyas, Meend, Kana Swara, Poorvang, Uttarang, Sankeerna Ragas, Gat, Tora, Sparsh, Krintan, Mizrab. Biography of Pt. Vishnu Digambar Paluskar.</li>
</ul>

Teachers Details

Manas Pathak

Manas Pathak

Teachers Details

Manas Pathak

Manas Pathak

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