Virender.Kumar.Sehra1

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

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

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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