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Hindustani Vocal

Hindustani Vocal music is the classical music of Northern India. Shankar Mahadevan Academy provides the unique opportunity for students everywhere to learn Hindustani Vocal music from the convenience of their own home through a highly structured curriculum, a clear path for progression, and certifications for completion. Level Certificates are given to students at each of seven levels: Sa, Re, Ga, Ma, Pa, Dha and Ni. Each level requires the student to complete the courses listed under it and pass the level exam. Students who are new to the Academy start with the first course in each of the levels, depending on prior experience. Entry into any level will require new students to take and pass the assessment for the prior level.

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☆ Levels (Sa..Ni)
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Curriculum

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Hindustani Vocal 101

This course is ideal for students looking to take their first steps into the world of Hindustani Vocal Music. The course aims at providing a strong foundation where learning is a process of constant discovery. The student acquires the ability to use basic elements of music (melody and rhythm) to ..

USD 299  
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Hindustani Vocal 102

This course builds on the foundation set by the first course and introduces the student to the concept of building block of music, Swaras. By mapping mapping Swaras to popular songs, students develop a clear understanding of how Swaras combine to create music. The student gets to experiment with ..

USD 299  
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Hindustani Vocal 103

The process of identifying Swaras may seem daunting but in reality it can be taught in such a way that the learner can pick up this skill by connecting the right dots. This is what the Beginner Hindustani Vocal 103 enables the learner to do. Some combinations that get covered include Swar Sadhana wi..

USD 299  
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Sa Certification Exam - Hindustani Vocal

The Sa Level Exam consists of 1 contact review class for an hour, a written exam (take home assignment) and a viva voce. Viva voce session is up to 1 hour long. The student will have access to the exam OM Book as soon as they enroll. The actual exam will be scheduled based on the student's convenien..

USD 49  
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Hindustani Vocal 104

After having introduced the student to Swara mapping in the previous courses, this course focuses on Swara identification. The ability to identify the musical notes by listening to sounds is developed using specific exercises. This course also includes study of some Raga characteristics, the orig..

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Hindustani Vocal 105

This course adds more creative elements to the Chhota Khayal composition. The principles and guidelines to create Swar Vistar are initiated. Aalap, BolAalap and Taan are practised to perform with confidence within the Teentaal structure. The Raga characteristics are detailed out by singing and co..

USD 299  
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Hindustani Vocal 106

This course reinforces MandraSwar Sadhana, Alankar and Swar Pehechan. The study of Raga characteristics Vadi, Samvadi, Raga Jaati are detailed out. Ragas learnt are Des and Kaafi. In these Ragas ChhotaKhayal and different compositions are sung. Raga that is revisited is BrindavaniSarang. Swar Vis..

USD 299  
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Hindustani Vocal 107

This course focuses on singing the Ragas done with ease and navigating from one Raga to another. This also includes Raga Pecehan, identification of Raga by listening to the tunes. The highlights of this course are assignments where the student analyses Ragas and the emotions created by each Raga...

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Hindustani Vocal 108

This is the concluding course of the Beginners Level. The student reviews the various Ragas learnt until now and also works on the ability to switch from one Raga to another with ease. Articulating the emotions created by each of these Ragas, the student does the creative exercise of using Raga soun..

USD 299  
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Hindustani Vocal 201

With the initiation into singing the Bada Khayal Bandish, the student enters the Intermediate level of learning. The Vilambit Laya forms the framework of the Bada Khayal. Practice of holding this slow Laya is given importance here in order to lay a strong foundation. The Chhota Khayal is sung wit..

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Hindustani Vocal 202

The singing of Bada Khayal is reinforced with the introduction of Aalap within the Bandish in Vilambit Ektaal. Raga Asavari and Raga Kedar are chosen for a detailed learning of Raga characteristics and Chhota khayal singing. Raga Malkauns is revisited. The mood created by the soundscape composed and..

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Hindustani Vocal 203

The Bada Khayal learning is in Raga Bhupali. While singing the slow Aalap with the Bada Khayal there is a deeper understanding of the Raga characteristics. Bhupali Chhota Khayal is sung with improvisation. The improvisation here will be done with a variety in Bol Aalap and Taan. The Ragas introdu..

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Hindustani Vocal 204

The singing of Bada Khayal in Bhupali is reinforced with the Aalap within the Bandish in Vilambit Ektaal. The Trivat in Bhupali is sung with rhythmic improvisation concepts. Raga Bhimpalasi Chhota Khayal is revisited with extempore Aalap. Dhrupad composition in Sooltaal is also in Bhimpalsi, a Ga..

USD 449  
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Hindustani Vocal 205

The student at this level has developed a good sense of Vilambit Laya. The third Vilambit Khayal is learnt in the early morning melody Raga Bhairav. The Swar Vistar and Badhat within the Vilambit Khayal are done with the awareness of the nuances of this majestic Raga. The student also listens to ..

USD 449  
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Hindustani Vocal 206

In this course Raga Bageshri is studied. A Dhamar composition is introduced in Raga Bageshri and the Chhota Khayal is revisited. The relationship between Dhrupad and Dhamar is highlighted. Exploring the Bhakti Ras a Bhajan is learnt in Raga Tilang. Tilang is a melody beautified with the aesthetic..

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Hindustani Vocal 207

In this course we develop the understanding of three Ashraya Ragas: Marva, Kalyan and Bhairavi. Raga Marva is studied in greater detail. A Tarana is learnt in Marva, while reinforcing the placement of the notes in Marva, and the factors that differentiate it from Puriya and Sohini that have the s..

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Hindustani Vocal 208

A Bada Khayal in Bihag is learnt with Badhat. A Dhrupad in Bihag follows this. Raga Jaunpuri Chhota Khayal Bandish is learnt with a reference to how this Raga differs from Asavari that was learnt earlier. A Dadra composition based on Raga Des is learnt to enhance the semi classical repertoire of ..

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Hindistani Vocal 209

Bada Khayal in Bhairav is revisited. Three Chhota Khayal compositions in Bhairav are in Teentaal, Ektaal and Jhaptaal. These compositions are sung with improvised Aalap and Taan. Raga Shankara comes in next with its cascading Swara movements. Student composition involves traversing different Raga..

USD 449  
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Hindustani Vocal 210

At this point the learner has developed intense listening skills in both Sur and Taal. Student is encouraged tossing extempore Aalap with different compositions like Bada Khayal, Chhota Khayal, Dhrupad and Tarana. Student can apply these concepts to Raga based Bhajans. Raga Brindavani Sarang is r..

USD 449  
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Hindustani Vocal 301

The development of each Raga learnt is detailed and the student is encouraged to sing extempore Swar Vistar and Aalap. Swar Sadhana is done with Aakar, Uukar and Mmkar. Raga Poorvi is the first Raga introduced in this course. The Raga descriptions are based on the listening experience and mood bo..

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Hindustani Vocal 302

The Raga introduced here is the mellifluous Jaijaivanti. The Ragaang system can be applied to study the Raga Roop with clarity. The student attempts to bring out the different shades of this Raga effectively. Swar Sadhana is done with Aakar, Uukar and Mmkar. Specific practice exercises for differ..

USD 449  
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Hindustani Vocal 303

In this course Raga Sohini is taken up for learning. The student has listened to this Raga and seen how Sohini has a different persona as compared to Marva. The study of Raga Chalan is important in this Uttarang Pradhan Raga. The Raga exploration is done on the basis of a Chhota Khayal. Swar Sadh..

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Hindustani Vocal304

Raga Kamod has been introduced in the previous course. This Chanchal Prakruti Raga is learnt in detail with Aalap and Taan. Review the similar (Sam Prakruti Ragas Kedar and Hamir). The Swar Sadhana concepts are reinforced and practiced regularly. Raga Bhimpalasi is taken for elaborate Swar Vistar..

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Hindustani Vocal 305

Raga Bhimpalasi Bada Khayal is reviewed with Aalap and Taan. Raga Bageshri is explored with the Bada Khayal in Vilambit Teentaal. A Tarana in Bageshri is learnt with improvisation in Nom Tom Bol. Swar Sadhana is done with the Poorvi Thaat Swaras. Raga Basant is introduced and a Chhota Khayal is i..

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Hindustani Vocal 306

Raga Todi signifies a myriad of emotions from pathos to ecstacy. The journey with this Raga begins here by introducing a Chhota Khayal. This is elaborated with Aalap and Taan. Raga Bageshri Chhota Khayal is reviewed before taking a plunge into the Bada Khayal in this lovable Raga. Deshkar is anot..

USD 449  
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Hindustani Vocal 307

Raga Jaunpuri is a Raga which is similar to Asavari in substance. This course starts with Swar Sadhana in Jaunpuri Swaras. The Chhota Khayal in this Raga is reviewed. The essence of this Raga is explored by learning a Bada Khayal with Aalap and Taan development. Swar Sadhana exercises include sin..

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Hindustani Vocal 308

Darbari, as the name suggests is a majestic Raga. The Swar Sadhana includes the practice of Khatkas and meend. Swar Vistar is done with the knowledge of the Raga characteristics. Raga Darbari also called Darbari Kanada is further explored by learning the Chhota Khayal with Aalap and Taan. The not..

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Hindustani Vocal 309

Raga Shree is introduced in this course. The Swaras of Shree are to be practiced by doing Swar Sadhana exercises in this Raga. Swar Vistar is done as one dives into this meditative Raga. Paltas also are learnt in this Raga, which is one of the difficult Ragas to master. A Chhota Khayal in Shree s..

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Hindustani Vocal 310

Raga Multani Bada Khayal is reviewed in this course. Raga Desi is an interesting Raga which acquires form with the zig zag movements of Swara combinations. A Chhota Khayal is introduced in this Raga which has the potential to be developed and elaborated in all three Saptaks. A review of any of th..

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Hindustani Vocal, 401

For a Masters course, content mastery will be approached with a big picture idea. Each course will have a set of Ragas, selected on the basis of a general principle. It is expected that the student analyses the principle and hypothesizes on the link of the Ragas to this principle, based on the in..

USD 589  
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Hindustani Vocal 402

This course will deal with three varieties of Malhar, the Raga family associated with the life giving season in India, the monsoons. Raga in this family is Miya ki Malhar and is attributed to Miya Tansen. In addition, this course will contain Goud Malhar and Sur Malhar. Theory – includes th..

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Hindustani Vocal 403

Three Ragas chosen for this course are evocative of seasons. Megh Malhar is sung during the Monsoon, Hemant in winter and Bahar in spring. The texts of Bandhishes in these Ragas as well as their Swara combinations will be explored in the light of their being seasonal Ragas. Raga Madhmad Sarang wi..

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Hindustani Vocal 404

We now move into a selection of morning Ragas, all with nuances and characteristics that a student at this level should be able to grasp: Gurjari Todi, which is very similar to Miya Ki Todi that the student has learnt earlier, except that it has no Pancham, Bilaskhani Todi which is actually more ..

USD 589  
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Hindustani Vocal 405

The Ragas chosen for this course are variants of one parent Raga – Bilaval. With the addition of shades of other Ragas, new personalities have emerged in the forms of Ragas Devgiri Bilaval, Kukubh Bilaval, Yamani Bilaval . In this course you will explore the effect of these shades on the pa..

USD 589  
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Hindustani Vocal 406

The three Ragas chosen for this course Puriya Kalyan, Shyam Kalyan and Gorakh Kalyan, all have the title of Kalyan, but whereas the first two are combinations (Jod) of two Ragaangas to yield a variety of the parent Raga Kalyan. The study of how Puriya in the first half of the octave and Kalyan in..

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Hindustani Vocal 407

The four Ragas, Desi, Bhatiyar, Ahir Bhairav and Vibhas are all morning Ragas and will be studied in the context of their distinctive features. Desi and Bhatiyar are both Vakra Ragas, their characteristic movement has twisted ascending and descending Swara patterns and are identified by specific ..

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Hindustani Vocal 408

The three Ragas being explored in this course range from having six notes (Puriya) to five (Chandrakauns) and then four with a touch of the fifth to make it to the compulsory number to form a Raga (Hindol). In addition, this study will involve the understanding of other Ragas that share closeness..

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Hindustani Vocal 409

The three Ragas in this course, Nayaki Kanada, Kalavati and Madhuvanti will not just be explored with their distinctive characteristics in mind, the concept of Taals and Bandhishes will also be researched deeply through these Ragas. Nayaki Kanada, with its Vakra and typical phraseology, has a pop..

USD 589  
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Joy of Singing(H)704

Hidustani Classical Music is like an ancient Banyan tree which encompasses various styles of Music under its umbrella. Bhakti Sangeet is one such stream of Music. Bhajan compositions could be Raga based or may not adhere to Raga structure, the focus being on expression of the lyrical content effecti..

USD 299  
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Raga Yaman - an in depth study - Part 1

This course , the first in the Raga Deep Dive provides an insight into Raga Yaman. Hindusthani classical music, the Ragdhari Sangeet is the music of improvisation within the perview of the Raga. Singing a Raga is much more than just making permutations and combinations with Swaras. It involves a kee..

USD 449  
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Joy of Singing (H) 701

The course will focus on a variety of beautiful compositions based on 3 main Ragas: Raga Vrindavani Sarang, Raga Shankara and Raga Bihag. Raga Vrindavani Sarang: You will get to explore this Raga better with the help of amazing Kabir Bhajan. This particular Bhajan was popularized by two great artist..

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Joy of Singing (H) 702

The course will focus on a variety of beautiful compositions based on 3 main Ragas: Raga Kalavati, Raga Kedar, Raga Todi. For each Raga taught in the course, you will learn the concepts of Aroha and Avaroha, followed by the composition Swaramalika. You will also gain insight into other Ragas that ar..

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Joy of Singing (H) 703

The course will focus on a variety of beautiful compositions based on 3 main Ragas: Raga Bhairav, Raga Bhairavi and Raga Bageshree. For each Raga taught in the course, you will learn the concepts of Aroha and Avaroha, followed by the composition Swaramalika. You will also gain insight into other Rag..

USD 299  
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Hindustani Vocal Songs 105

Meerabai is one of the most loved and adored saint poets of the Bhakti stream which richly contributed to the music and literature of India. She wrote songs in praise of Lord Krishna This course has three Meera Bhajans, based on Ragas Yaman, Bhimpalasi and Kalavati. The student does Swar Sad..

USD 299  
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Mharo Pranam

This evergreen Meera Bhajan set to Raga Yaman, describes the beautiful Lord who wears the peacock feather..

USD 129  
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Jhoolat Radha

The song Jhoolat Radha describes Radha and Krishna playing Holi on the banks of Jamuna, brings in playful elements of Kafi, maintaining the emotion of Bhakti through Bhimpalasi..

USD 129  
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Ya Mohan Ke Main

"Ya Mohan Ke Main Roop Lubhani" -Meera describes the enchanting form of Lord Krishna. This is one of the beautiful songs representing Sagun Bhakti literature...

USD 129  
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Mhara re Giridhar Gopal

Mhara Re' is an immortal song which expresses Meera's intense devotion. This song has been set to music by Hridaynath Mangeshkar..

USD 129  
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Naam Hari Ka Jap Le

Naam Hari Ka' is a popular Bhajan of Kabir, emphasizing the need to recite 'Hari Naam' and feel the presense of the Divine in ones own self..

USD 129  
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Beet Gaye Din

"Remember God as time is flying" says Kabir in this Bhajan 'Beet Gaye Din'. This song set to Raga Bhairavi is a concert favorite song...

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Rehena Nahin

Rehena Nahin, Des Birana hai' is a popular Kabir Bhajan seeking for the Divine that is permanant. This song has been composed in Raga Brindavani Sarang set to Taal Dadra..

USD 129  
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Humko Pandhar pur Jaana

Humko Pandharpur Jaana' is set Tilang expressing enthusiasm to see the Lord of Pandharapur...

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Man Lago Yaar

Man Laago Yaar Fakiri Mein' has been a concert favorite song repesenting Kabir's philosophy in simple words. The path of devotion is more valuable than all the wealth in the world -this emotion is expressed effectively by Raga Todi..

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Udho Kaho Hari

This Surdas Bhajan is set to a rare and one of the most beautiful morning Ragas Anand Bhairav...

USD 129  
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Hey Prabho Anand Data

Hey Prabho Anandadaata' is a popular and melodious Bhajan in Yaman, which can be sung individually or in a group. This song is set to Taal Roopak..

USD 129  
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Hey Ram Hey Ram

This chanting of Ram Naam creates a peaceful atmosphere. This Bhajan in the immortal voice of Jagjit Singh touched many hearts..

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Hari Hari Japle

This sing explores the Bhakti Ras in the beautiful night melody Bageshri..

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Prabhu Mori Binati Suno

Prabhu Mori Binati Suno' is a popular Bhajan in the melodious Raga Bihag set to Taal Roopak..

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Shiv Shiv Mahadev

The melodious and energetic Bhajan on Lord Shiva is in the Raga Shankara..

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Prabhu Tum Antaryami

Hay Prabhu Tum Sab is a melodious and popular prayer which can be sung individually and can be presented very well in a group..

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Jaya Devi Jaya Devi

Jaya Devi' is a Saraswati Stuti in Sanskrit popularised by Smt. Veena Saharsabudde...

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Marma Bandhantali

Marma Bandhatali' is a well known Marathi Natya Geet from the play 'Sanyasta Khadga'. This song conveys the essence of Raga Patdeep..

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Daya Ghana

Daya Ghana' is the enchanting melody based on Poorvi which has been sung by Suresh Wadkar for a movie bases on the life of Master Dinanath Mangeshkar. This immortal song is written by Sudhir Moghe and the music has been composed be Hridaynath Mangeshkar..

USD 129  
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Nirbhay Nirgun

The Bhajan 'Nirbhay Nirgun' is one of the most loved Nirguni Bhajan of Pt. Kumar Gandharv. This song represents Kabir's philosophy of the Divine with no attributes, Nirgun, Nirakar..

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Avadhuta Yugan Yugan

The Bhajan 'Avadhuta Yugan Yugan Hum Yogi' is one of the most loved Nirguni Bhajan of Pt. Kumar Gandharv. This song represents Kabir's Bhakti and quest for finding the Divine within oneself...

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Kaun Thagva Nagariya

This beautiful Kabir Bhajan sung by Pt. Kumar Gandharva has been a favorite among listeners of music...

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Santo Andhadhund Andhiyara

Santo Andhadhund Andhiyara' is a Bhajan where Kabir says ,'when there is darkness evrywhere find the light within oneself'. This song has been set to a lilting folk based tune by Smt.Bharati Balakrishnan in her album'Sagun Nirgun'..

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Mati Kahe Kumhar se

Mati Kahe' is one of the most loved Kabir Bhajans popularised by Smt. Laksmi Shankar..

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Kheti Karo Hari Naam ki Manva

Kheti Karo' is a Kabir Bhajan which can be highlighted as the best example of how Kabir could explain his profound philosophy of Bhakti in simple language. This Bhajan is sung in a lilting folk based tune and traditional Bhajan style...

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Sunta Hai Gurugyani

Sunta Hai' is a well known song which conveys the essense of Kabir's teachings. The song has been immortalised by Pt. Kumar Gandharv...

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Moko Kahan Tu Dhoonde re Bande

Moko Kahan' is a popular and often sung Kabir Bhajan. This song has been beautifully composed in Raga Kalavati...

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Bhajo re Bhaiya

Bhajo re Bhaiya' is a well known and enjoyable Kabir Bhajan. This song has been immortalised by Smt. M.S. Subbalakshmi..

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Jheeni Chadariya

Jheeni Chadariya' is a well known song which conveys the essense of Kabir's teachings. This song has been set to tune in Raga Charukeshi by the Gundecha brothers..

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Jamuna Kinare Mora Gaaon

Jamuna Kinare' is one of the often sung and enjoyable Malva folk based semiclassical song..

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Aali Mohe laage

Aali Mohe laage Brindavan' is a popular Meera Bhajan set to Raga Bhairavi..

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Santon Karam Ki Gati

Karam Ki Gati' is a Meera Bhajan which stands out because the nature of the content in this particular Bhajan is Nirgun unlike other Meera Bhajan's. This song has been set to tune in Raga Hamsadhwani..

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Sawarare

Sawara re' is one of the most often sung Meera Bhajans in Raga Manj Khamaj..

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Kinu Sanga

Kinu Sanga' is an emotive and most loved Meera Bhajan set to Raga Yaman..

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Ud jaare Kaga

Ud Jaare Kaaga' is a beautiful Meera Bhajan which contains the choicest phrases of the Raga Bhinna Shadja..

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Thaani Kai Kai Bol Sunava

Thaani Kai Kai Bol Sunava' is a popular Meera Bhajan sung in a lively rhythm...

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Payoji Maine

Payoji Maine' is the evergreen Meera Bhajan which is a concert favourite. This Bhajan has been immortalised by Pt. D. V. Paluskar..

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Chalo Man

Chalo Man' is a popular Meera Bhajan which has been immortalised by Pt. D.V. Paluskar...

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Kinare lagaao

Kinaare Lagaao' is a Meera Bhajan which expresses profound thought in simple language. The tune is based on Raga Tilak Kamod..

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Sri Ramachandra

Sri Ramachandra is a concert favourite Bhajan soaked in the beauty of the Raga Yaman Kalyan and the Bhakti of TulasiDas..

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Jaya Rama Rama Ramanam

Jaya Ram' is the beautiful Sanskrit verse from the Ramcharitmanas in the soothing Swaras of Raga Jaijaivanti..

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Thumak Chalat

Thumak Chalat' is the Bhajan in the rhythm of Dadra paints the picture of the toddler Sri Ram, just learning to walk..

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Janaki naath Sahaay

Janaki Nath Sahay' is the Tulasidas Bhajan soaked in Bhakti. This song has been immortalised by Pt. D.V. Paluskar..

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Hay Prabhu Tum Sab

Hay Prabhu Tum Sab' is a melodious prayer in Raga Yaman. This can be sung individually and also in a group..

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Vishwaadhaara Vinayaka

Vishwaadhaara Vinayaka' is a melodious prayer to Lord Ganesha. This Ganesh Vandana can be sung individually and also in a group...

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Veena Vadini Varade

Veena Vadini' is the Devi Stuti penned by Mahakavi Suryakant Tripathi 'Nirala'. The spirit of this song is effectively and skillfully expressed in Raga Hamsadhwani..

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Jaya Jayati Jaya Raghuvamsha Bhooshana

Jaya jayati' is a popular stuti in Sanskrit sung in raga Hamsadhrwani set to Taal Roopak..

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Darashan Do Ghanshyam

Darshan Do' is an enjoyable and popular devotional song. The deep feeling of devotion is beautifully expressed in Raga Kedar..

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Akhiyan Hari Darshan ki pyaasi

Akhiyan Hari Darashan ki pyasi' is a song deeply immersed in the feeling of seperation from the Divine. The depth of devotion is portrayed by Raga Todi..

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Tum Aasha

Tum Asha' is the melodious and popular Prayer loved by all. This song can be sung individually or in a group..

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Mere Maula Karam Ho

Mere maula Karam ho' is a well known Sufi song soaked in devotion and melody of Raga Pilu..

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O Laal meri

O Laal meri' has been synonymous with Sufi singing and has been rendered by many artistes. This song of the Sufi saint Shabaz Kalandar is an all time favorite devotional song..

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Frequently Asked Questions

Why should we learn Hindustani Vocal?

Music is a magical gift we must nourish and cultivate ourselves and in our children; a gift which keeps on giving throughout our lifetime. Hindustani Vocalis one of the oldest musical traditions of the world and is interwoven into the rich fabric of our society. Our Hindustani Vocal Vocal certificate program provides a unique opportunity for students anywhere in the world to learn from the convenience of their home.


Who can learn? Does learning online work?

Whatever be your age or level of expertise, we have a course that will help you take huge steps forward in developing your vocal skills.

After delivering 19000+ hours of online classes over last 3+ years we are convinced that learning online works. Instead of you travelling to meet your teacher for your classes, the teacher will come online.

You will need a computer, headset with microphone, high speed internet connection and a quiet convenient corner in your home to do your classes.
If you are travelling and do not want to miss your class, you can join your class from your phone or tablet.

All your classes are recorded and you can review the recordings at anytime and from anywhere. This has been very helpful for our students


Which course should I enroll?

If you have no formal training or less than 6 months of formal training we recommend that you join the 101 course (first course)

Others, please go through the curriculum and decide on the course to join based on the prerequisites listed. Once you enroll, our experts will review your skill level and may move you to a different level based on their evaluation.

info@shankarmahadevanacademy.com
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