USD 329


Course duration
12 week(s)
Max class size
3
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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 rendered by the student in Yaman and Malkuns, is further highlighted by recording poetry against the background of the soundscape. Five Ragas learnt earlier are reviewed developing the ability to switch Ragas. Theory: Review of Raga characteristics. Raga characteristics of Asavari and Kedar. Khayal Composers.

Course Format

Batch Size: 3

Duration: 12 weeks, one 45 mins lesson per week

Objectives

  • To further develop the sense of the Vilambit Laya
  • To sing the Bada Khayal in Vilmbit Ektaal with Aalap within the Bandish.
  • To compose a tune in Asavari for a given piece of poetry while studying the characteristics of the Raga
  • To learn a Chhota Khayal in Asavari
  • To be able to create Aalap, Bol Aalap and Taan in Asavari
  • To sing patterns and learn a Chhota Khayal in Raga Kedar
  • To revisit Raga Malkauns
  • To record a piece of poetry against the background of the soundscape created with Yaman and Malkauns in HV201
  • To review five Ragas known to the student with Raga characteristics

 

 

The student should have completed HV201 at the academy OR The student should have above two 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, Tarana. The student should have the ability to compose a simple Sargam Geet and a Tarana in any of the Ragas learnt. Students who wish to join this level directly need to submit the prerequisite assessment assigned by the academy on enrolment

Bada Khayal in Yaman -Aalap
  • Bada Khayal - Banara Mora
  • Banara Mora Aalap and Bol Aalap
Raga Asavari
  • Introduction to Raga Asavari
  • Raga Characteristics of Asavari
  • Swar Sadhana in Asavari
  • Swar Vistar in Asavari
  • Chhota Khayal in Asavari
  • Aalap in Asavari Chhota Khayal
  • Taan in Asavari Chhota Khayal
Raga Kedar
  • Introduction to Raga Kedar
  • Raga Characteristics of Kedar
  • Swar Sadhana in Kedar
  • Swar Vistar in Kedar
  • Chhota Khayal in Kedar
  • Aalap in Kedar Chhota Khayal
  • Taan in Kedar Chhota Khayal
Khayal Composers
  • Sadarang and Adarang
  • Mohmad Shah Rangeele
  • Modern composers
Raga Characteristics-Review
  • Vadi and Samvadi
  • Nyas Sawaras
  • Pakad
  • Gayan Samay
  • Jati and Prakriti
Thaat and Ragas
  • Thaat
  • 10 Thaats
  • Compare Thaat and Raga
  • Aashray Ragas, ,Janaka Thaat, ,Janya Ragas
  • Practice of singing scales
Raga Malkauns-Review
  • Malkauns Raga Characteristics
  • Malkauns Chhota Khayal
  • Malkauns Aalap and Taan
Revisiting Old Ragas
  • Alhaiya Bilaval
  • Bhairav
  • Kafi
  • Des
  • Brindavani Sarang

The student is able to

  • Present the Bada Khayal Bandish with basic Aalap in perfect Sur and Taal
  •  Present the Swar Vistar and Chhota Khayal in Asavari with Swar Vistar, Aalap, Bol Aalap and Taan
  • Sing the self composed song in Asavari with Taal
  • Sing Chhota Khayal in Kedar
  • To convert a Khayal in Bhupali to Malkauns
  • Sing  Chhota Khayal in Malkauns with more improvisation
  • Select and record a piece of poetry based on the response to the soundscape received, against the soundscape of Yaman and Malkauns created in HV201
  • To set a melody to a Shloka in any of the Ragas learnt so far