Madhuchhand.panda1

A detailed comparative and subtle introduction of all ragas from the first to the sixth years, full knowledge of writing in their alap-tan etc.

Writing in aalap-taan swarlipi showing alpatva-bahutva in different ragas and shadow of other ragas etc.

Recognizing chords by hard written swaralipis.

Creating a sargam in the given ragas;

Writing the melody of songs, writing Dhamar and Dhupad in lyricals like Dugun, Tigun, Chaugun, and Aad etc.

Write the lyrics of the rhythm in different lyricals

The need of music in life, the singing of the gathering, the influence of classical music on the masses, radio and cinema music, background music, Hindustani music and raindrops, characteristic of Hindustani music, Swar Ka Lagaan Sangeet and Swarlipi etc.

Biography and work of Har-Hadu Khan Fayaz Khan, Abdul Karim Khan Bade Ghulam Ali and Omkarnath Thakur.

Comparison of swara sthaans of medieval and modern musicians with the help of andolan numbers and the length of strings, composition of western swars, rules of simple multiplication and shuddh swar samvad, Movement number of western voices, swar samvad in Hindustani vocals, Carnatic rhythm system and comparative study of Hindustani tala system. A brief history of music, gram, murchhana (gradual change in meaning) murchhana and modern thaat, kalavant, pandit, nayaka, vaggeykar, bani (khandar, dagur, nauhar, gobarahar), geet, geet&#39;s Types, types of Gamak, different types of Indian instruments (Tat, Avanadha, Dhan, Sushri) etc.

Knowledge of the following subjects: Auxiliary sound originating from Tanpura, Reason and description of conversion of Western swar saptak into swara, Major, Minor and Semitone, Merit and Defects of Western Modern Vowels, A Critical Look at Harmonium, Emancipation from Tanpura

The reconciliation of our modern swara places with the swars of ancient, medieval and modern raga classification, their importance and their different types Interrelationship of music, art and scripture, Bharata&#39;s Shrutis are similar and dissimilar views and arguments of various scholars on this Sarana

Chatushtai Study of North Indian music, Comparison of Hindustani and Carnatic musical systems by matching their swar taal and ragas, general knowledge of western swara script system, brief knowledge of gharanas of music Ratnakar&#39;s ten methods raga classification, language, language etc.

Comparative study of Bhatkhande and Bishnu Digambar swara scripts and their errors and suggestions for advancement Articles Suggestions for proper formation of future music, Main principles of Hindustani Music System Introduction to ancient and modern eminent musicians and their style, Music on human life effects, music and Errors and Advances in Music Education by Chitta Schools Music and Vocal Instruments

Scripture related subjects of all previous years micro and detailed study

Study of all ragas of earlier years to show mastery in raga recognition and to show alpatva-bahutva, tirobhav-abirbhav and samata variation

Preparation for singing, clear performance in alap taan, Introduction to thappa, thumri, tirbat and chaturanga, knowledge of any two of these songs is required

Raag Ramkali, Miyan Malhar, Paraj, Basanti, Raag Shree Pooriya Dhanashree, Lalit, Shuddh Kalyan, Desi and Malgunji

In the ragas, each bada khayal and chota khapal with full preparation

In any two ragas, one dhamar, one dhupada and one tarana each.

Chaturanga in any one raga (from the ragas of sixth to first year).

Kafi Peelu, Pahari, Jhinjhoti, Bhairavi and Samaj in any two of these ragas, two thumris and Tappa in any one &bull; Taal Laxmi Taal, Brahma Tal and Rudra Taal, their complete introduction and knowledge of hand clapping in all Laykaris.

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