Vinay1

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

<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>Understanding basic concepts of thumri and its genres, including its history, structure, and musical elements.</li>
	<li>Learning various semi-classical genres such as Dadra, Kajri, Hori, Rasiya, Chaiti, Baramasa, and Classical Bhajans.</li>
	<li>Exploring different thumri-related raags in detail, including their characteristic features, scale, and melodic phrases.</li>
	<li>Developing an understanding of the traditional forms of improvisation used in thumri and other semi-classical genres.</li>
	<li>Learning to apply appropriate ornamentation techniques, such as meend, gamak, khatka, and murki,&nbsp;to enhance the expressiveness of the music.</li>
	<li>Improving the ability to perform semi-classical compositions with proper intonation, timing, and rhythm.</li>
	<li>Developing the ability to appreciate and analyze semi-classical music compositions in a meaningful way.</li>
</ul>

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