USD 449


Course duration
12 week(s)
Max class size
1
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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 Shuddh Ni and Komal Ni in Aaroh Avaroh respectively. A Chhota Khayal in the Raga further enhances this understanding. The learning of a Bhajan offers an opportunity to analyse the classification of Light and Classical Music. A Chhota Khayal in Madhyalay Teentaal is also learnt. The Tarana in Bageshri is given to the student for listening. The sonorous Marva is also introduced here, with a Chhota Khayal. Theory : Relationship between Dhrupad and Dhamar genres; Swami Haridas, Tansen, Gopal Nayak, Baiju and Raja Mansingh; Raga characteristics of Bageshri and Marva. 22 Shrutis applied as Swaras. To understand the classification of Light and Classical Music.

Course Format

Batch Size: 1

Duration: 12 weeks, one 45 mins lesson per week

Objectives

  • To learn a Dhamar in Bageshri and learn to recite Dhamar Taal
  • To appreciate the relationship between Dhrupad and Dhamar genres
  • To study the historic development of these genres in the life times of Swami Haridas, Tansen, Nayak Gopal and Baiju
  • To learn the notes of Raga Tilang and the Raga Chalan
  • To sing a Bhajan in Tilang
  • To understand the classification of Light and Classical Music
  • To learn a Chhota Khayal in Tilang and experience the difference in singing a light music vs a classical piece in the same Raga
  • To sing patterns in Marva following the Raga structure and learn a Chhota Khayal 
  • To sing Aalap and Taan in Marva

 

 

The student should have completed HV205 at the academy OR The student should have the ability to sing a Swara Vistar, Chhota Khayal with self composed Aalap, Taan in at least twelve Ragas. The student should be able to sing a Dhrupad composition with Dugun and Tarana with improvisation. The student should have the ability to compose a simple Sargam Geet in any of the Ragas learnt. The student should be able to sing Bada Khayal in any two of Ragas Yaman, Bhairav, Bhupali. Students who wish to join this level directly need to submit the prerequisite assessment assigned by the academy on enrolment

Swami Haridas and disciples
  • Swami Haridas
  • Tansen
  • Nayak Baju
Dhamar and Dhrupad
  • Dhamar
  • Relation between Dhrupad and Dhamar
  • Dhamar Taal
  • Raja Mansingh Tomar and his contributions
Raga Bageshri
  • Dhamar in Raga Bageshri
  • Revisit Bageshri
Raga Bageshri Tarana
  • Bageshri Tarana words
  • Bageshri Tarana Swaras
  • Bageshri Tarana learning
Raga Tilang
  • Introduction to Tilang
  • Raga characteristics of Tilang
  • Alankar patterns in Tilang
  • Chhota Khayal in Tilang (Nanandiya)
  • Aalap in Chhota Khayal (Nanandiya) Tilang
  • Taan in Chhota Khayal (Nanandiya) Tilang
Bhajan in Tilang
  • Tilang Bhajan Lyrics
  • About the Bhajan Hamko Pandharpur Jaana
Classification of Light and Classical Music
  • Thumri and Tappa
  • Bhajan
  • Ghazal
Raga Marva
  • Introduction to Marva
  • Raga characteristics of Marva
  • Alankar Patterns in Marva
  • Chhota Khayal in Marva (Suna Suna)
  • Aalap in Marva
  • Taan in Marva
Shrui Swar Vibhajan
  • Shrutis
  • 22 Shrutis
  • Swaras
  • Distribution of Shrutis in Swaras

The student is able to

  • Present the Chhota Khayal in Bageshri with Swara Vistar, Aalap and Taan in perfect Sur and Taal
  • Present the Dhamar in Bageshri with Dugun
  • Recite Dhamar Taal
  • Research and present an imagined scene of a conversation about musical structures between Swami Haridas and Tansen, between Baiju and Raja Mansingh, based on facts discovered about the musicians
  • To learn the Raga Chalan of Tilang through a Bhajan
  • To appreciate the difference between light and classical music through the treatment of a Bhajan vs a Khayal in Tilang
  • Present the Chhota Khayal Bandish in Marva with Aalap and Taan