USD 449


Course duration
12 week(s)
Max class size
1
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At this point the learner has developed intense listening skills in both Sur and Taal. Hence the Ragas learnt earlier are reviewed with a new approach and skill level. 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 revisited. A Tarana is learnt in Brindavani Sarang exploring the speedy phrases that express this Raga beatifully. A Bada Khayal Bandish in this Raga would show how this Raga which has expressions through folk music transforms itself into Raga in full bloom! 

Raga Bhupali compositions are reviewed. Raga Khamaj is revisited. Here the Khayal composition learnt will be a Thumri Ang Bandish while exploring this versatile Raga. For composition Sanskrit verses are given which are to be set to different Ragas learnt.

Theory: History of classical Music, Dhrupad/Khayal, Margi and Desi Sangeet, Ragas and Rasas- emotions associated with Ragas. Do plants grow better with Music? Can Ragas heal?

Course Format

Raga Bhupali Characteristics

Raga Bhupali Compositions- Trivat and Dhrupad

Raga Bhupali Bada Khayal

Raga Bhupali Chhota Khayal

Raga Brindavani Sarang Characteristics

Raga Brindavani Sarang Khayal

Raga Brindavani Sarang Tarana

Raga Khamaj

History- Margi and Desi sangeet

Taal Deepchandi

Ragas and Rasas

 

Objectives

  • To learn a Tarana in Brindavani Sarang with development.
  • To learn the Bada Khayal in Brindavani Sarang.
  • To review compositions learnt in Bhupali.
  • To learn a Thumri Ang improvisation in a Chhota Khayal in Khamaj.
  • To sing all compositions learnt earlier in Khamaj with improvisation in Aalap, Taan and Bandish expression.
  • To recite Taal Deepchandi and to compare Taals, Deepchandi Dhamar and Roopak  
  • To compose tunes for given Sanskrit verses choosing different Ragas learnt.
  • To develop an understanding of Margi and Desi Sangeet.

 

Learning Outcomes:

The student is able to

  • Present the Chhota Khayal in Brindavani Sarang with improvised Aalap and Taan
  • Present the Bada Khayal in Brindavani Sarang.
  • Present the Tarana in Brindavani Sarang with improvisation
  • Present the Thumri Ang Chhota Khayal in Khamaj with improvised Aalap and Taan
  • Recite Taal Deepchandi, Dhamar and Roopak and compare the three Taals
  • Present the Sanskrit verse composed in different Ragas with a command on switching Ragas
  • Present a paper on Margi and Desi sangeet with illustration.

 

The student should have completed HV209 at the academy OR The student should have above five years of learning experience, with an ability to sing a Swara Vistar, Chhota Khayal with self composed Aalap, Taan in at least fifteen Ragas. The student should be able to sing a Dhrupad composition with Dugun, 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 sing Bada Khayals in at least 2 Ragas with Aalap, Bol Aalap, Layakari concepts like Bol Taan and Taan. The Ragas for Bada Khayal are Yaman, Bhupali, Bhairav and Bihag.  Students who wish to join this level directly need to submit the prerequisite assessment assigned by the academy on enrolment.

Raga Bhupali Characteristics
  • Introductory notes
  • Raga description
Raga Bhupali Compositions
  • Bhupali Trivat
  • Bhupali Dhrupad
Raga Bhupali Baga Khayal
  • Raga Bhupali Bada Khayal Swaras
  • Raga Bhupali Bada Khayal Review
Raga Bhupali Chhota Khayal
  • Nahi Maane
Raga Brindavani Sarang Characteristics
  • Sarang- Introductory notes
  • Sarang- Raga description
Raga Brindavani Sarang Khayal
  • Brindavani Sarang Bada Khayal Bandish
  • Brindavani Sarang improvisation for listening
  • Bindavani Sarang Chhota Khayal Review
Raga Brindavani Sarang Tarana
  • Brindavani Sarang Tarana Swaras
  • Learning Raga Brindavani Sarang Tarana
Raga Khamaj
  • Khamaj Raga Characteristics -Review
  • Khamaj Chhota Khayal
  • Khamaj Tarana
History- Margi and Desi Sangeet
  • Evolution of classical Music
  • Origin of Ragas
Taal Deepchandi
  • Deepchandi Theka
  • Comparison of Deepchandi, Roopak and Dhamar
Ragas and Rasas
  • Swaras and emotions
  • Ragas and emotions
  • Shlokas for composition