The student should have completed HV206 at the academy OR The student should have above three years of learning experience, with an 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 with Dugun Tigun Chougun and Tarana with improvisation. The student should have the ability to compose a simple Sargam Geet and a Tarana in any of the Ragas learnt. The student should be able to develop Aalap within the Bada Khayal in Rags Yaman, Bhupali and Bhairav. Students who wish to join this level directly need to submit the prerequisite assessment assigned by the academy on enrolment

<ul>
<li>To sing Marva Chhota Khayal with Swar Vistar Aalap and Taan</li>
<li>To compose a song in Marva, choosing suitable lyrics</li>
<li>To appreciate the difference in Marva, Puriya and Sohini with an understanding of the placement of notes</li>
<li>To learn a Tarana in Marva</li>
<li>To know the physics of musical sound, Naad,  – volume, pitch and timbre.</li>
<li>To sing Boltaan and Taan with in Raga Yaman BadaKhayal</li>
<li>To sing patterns in Raga Patdeep</li>
<li>To sing Swara Vistar and learn a Chhota Khayal in Patdeep</li>
<li>To create Aalap and Taan in Patdeep, while understanding how it is different from Bhimpalasi</li>
<li>To learn a Chhota Khayal in Bhairavi and to perform the Chhota Khayal with improvisation</li>
<li>To appreciate the difference between Gayaki and Tantrakari styles in the playing of instruments by comparing the styles of Pandit Ravi Shankar and Ustad Vilayat Khan in their rendition of Bhairavi</li>
<li>To understand how the length, thickness and quality of a string affect its frequency</li>
<li>To revisit the Bada Khayal with development in Yaman</li>
</ul>

The student is able to
<ul>
<li>Present Swar Vistar in Raga Marva, differentiating it from Puriya and Sohani</li>
<li>Present the Chhota Khayal in Marva with Swar Vistar, Aalap, Bol Aalap and Taan in perfect Sur and Taal</li>
<li>Present Tarana in Marva</li>
<li>Present the Chhota Khayal in Patdeep with Swara Vistar, Aalap and Taan in perfect Sur and Taal</li>
<li>Present the Chhota Khayal in Bhairavi</li>
<li>Recite Roopak Taal in Thaay lay and Dugun</li>
<li>Sing Swara Vistar patterns in Bhimpalasi and Patdeep understanding the different moods created by the two Ragas</li>
</ul>

Batch Size: 1
Duration: 12 weeks, one 45 mins lesson per week

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 same set of notes. The characteristics of Naad are understood. Raga Bhairavi is revisited and a Chhota Khayal is learnt. Raga Patdeep is introduced with Chhota Khayal and its differentiation from Bhimpalasi is highlighted. Raga Yaman Bada Khayal presentation is reinforced with development. Theory : Study of three Ashraya Ragas: Marva, Bhairavi, and Khamaj. Raga Characteristics of Patdeep. Comparison of similar Ragas- Patdeep and Bhimpalasi. Naad, the Physics of Musical Sound; Classification of instruments , Playing styles – Gayaki, Tantrakari, adherence to Dhrupad system.Length of the string and frequency.

Hindustani Vocal 207