USD 455

Course duration
12 week(s)
Max class size
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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 with an insight into Raga Characteristics. There is a focus on the understanding of Vilambit Laya and the Taal structure of the Bada Khayal in Vilambit Ektaal. A Bada Khayal in Raga Yaman is followed by the Chhota Khayal. The performance of Swar Vistar and Chhota Khayal in Yaman is refined further. Raga Malkauns is taken up for composition of a Sargam Geet and Chhota Kayal. Raga based Lok Geet is included. Going ahead with voice culture and voice training different types of Gamaks, Meend, Khatka, Murki, Kan and Andolan are demonstrated and students are encouraged to practice the same. Theory: Raga characteristics of Raga Yaman and Raga Malkauns. Laya in Bada Khayal Types of Gamaks Meend, Khatka, Murki, Kan and Andolan concepts are introduced and students practice and implement this in their singing. Using these embellishments, a sound scape is created with Yaman and Malkauns that is evocative in its rendition.

Course Format

Batch Size: 1

Duration: 12 weeks, one 45 mins lesson per week


  • To develop a good sense of the Vilambit Laya
  • To recite the Theka of Ektaal in Vilambit Laya
  • To sing the Bada Khayal in Vilambit Ektaal 
  • To research the evolution of the Bada Khayal and associated composers
  • To understand the nuances of Raga Yaman 
  • To understand the concept of Shrutis and their use in specific techniques that render emotions (Meend, Gamak, Kan, Khatka, Murki, Andolan)
  • To introduce Raga Malkauns and sing patterns in Malkauns
  • To compose a Sargam Geet in Malkauns
  • To learn a Chhota Khayal in Malkauns
  • To create Aalap, Bol Aalap and Taan in Malkauns
  • To create a sound scape by singing these two Ragas, Yaman and Malkauns, and getting listeners to write / say what it evoked for them.  



The student should have completed HV110 with honours or high honours, at the academy and complete the Re level examination with honours or high honours OR The student should have at least 2.5 years of learning experience with an ability to sing a simple Swara Vistar,Chhota Khayal with self composed Aalap, Taan in at least eight Ragas. The student should be able to sing a Dhrupad composition with Dugun and a Tarana. The student should have the ability to compose a simple Sargam Geet in any of the Ragas learnt. The students who wish to join this level directly need to submit the prerequisite assessment assigned by the academy on enrolment

  • Tanpura Theory
  • Tuning of Tanpura
  • Tanpura Video
  • Tanpura Glossary
Bada Khayal Gayaki
  • Evolution of Bada Khayal
  • Composers and their contributions
Laya and Taal in Bada Khayal
  • Vilambit Laya
  • Bada Khayal Taal
  • Revisit EkTaal
  • Vilambit EkTaal
BadaKhayal in Raga Yaman.
  • Slow Aalap in Raga Yaman
  • Banara Mora
  • Recitation of the Khayals in Vilambit Laya
  • Presentation of Vilambit Khayal in Yaman
  • To review the Chhota Khayal in Raga Yaman with aalap and Taan
Shrutis and Swaras
  • Naad -the Musical Sound
  • Shrutis- Microtones
  • Shruti names
  • Swaras
  • Role of Shrutis in Indian Music
  • Application of Shrutis in Gamaks
  • Meend, Kan Swar and Andolan
  • Khatka and Murkis
  • Swar Sadhna for Gamaks
Raga Malkauns
  • Introduction to Raga Malkauns
  • Raga characteristics of Raga Malkauns
  • Model Swar Vistar in Malkauns
  • Chota Khayal in Malkauns
  • Model Aalap and Taan in Malkauns

The student is able to

  • present the Yaman Bada Khayal Bandish in perfect Sur and Taal
  • present slow Alaap in Raga Yaman with an understanding of Meend
  • Identify and write about different voice techniques like Meend, Andolan etc. 
  • present the Swar Vistar and Chhota Khayal in Yaman with ease
  •  sing the self composed Sargam Geet in Malkauns  with Taal
  •  sing Chhota Khayal in Malkauns with Swar Vistar, Aalap, Bol Aalap and Taan
  • Create a sound scape by singing Yaman and Malkauns with embellishments and receive responses from listeners on what it evokes for them