USD 505

Course duration
12 week(s)
Max class size
Study Hours Per Week
Request Information

In this course Raga Sohini is taken up for learning. The student has listened to this Raga and seen how Sohini has a different persona as compared to Marva. The study of Raga Chalan is important in this Uttarang Pradhan Raga. The Raga exploration is done on the basis of a Chhota Khayal. Swar Sadhana is done with emphasis on range. Practice exercises for different Gamaks are reinforced.  Raga Kamod is introduced in this course. It is essential to do a comparative study of Kedar, Hamir and Kamod because these Ragas use same Swaras, but have distinct phrasing of Swaras. This trio of Ragas is the best example to describe the profoundness and aesthetics of Raga music.

For Bada Khayal  Raga  Bhimpalasi is reviewed. The Bada Khayal is introduced with Aalap Badhat. This is followed by Bhimpalasi Chhota Khayal with extempore improvisation.  

The student composes a Tarana in Raga Sohini.

Theory – Overview of the Ragaang system and its relevance. Introduction to Raga Ragini system.

Course Format

Batch Size: 1

Duration: 12 weeks, one 45 mins lesson per week


  • To do Swar Sadhana with Aakar, Uukar, Mmkar.
  • To practice different Gamak - Khatka, Murki and Taan
  • To learn the Raga Chalan of Raga Sohini
  • To distinguish Sohini from Marva and Pooriya
  • To learn a Chhota Khayal in Raga Sohini with Aalap and Taan
  • To compose a Tarana in Sohini
  • To review Bada Khayal in Bhimpalasi with development
  • To review Chhota Khayal in  Bhimpalasi with improvisation
  • To sing  Chhota Khayal in Kamod with Aalap and Taan
  • To review Kedar and Hamir 
  • To do a comparative study of Kedar, Kamod and Hamir
  • To do Raga Pehchan exercises


The student has completed HV302 at the academy OR The student has learnt Chhota Khayal in about eighteen Ragas and is able to present at least 12 Ragas with Swar Vistar Aalap and Taan. The student is able to sing Bada Khayals with Aalap in Yaman, Bhairav, Bhupali,Bihag and Malkauns. The student is able to compose simple Sargam Geet/Tarana in the Ragas learnt.

Ragaang system and Raga Ragini system
  • Ragaang system
  • Relevance of Ragaang system
  • Raga Ragini Classification
Raga Sohini
  • Introduction to Raga Sohini
  • Swar Vistar in Sohini
  • Paltas in Sohini
  • Chhota Khayal in Sohini
  • Aalap and Taan in Sohini
The Melakarta system in Carnatic Music
  • Vyankatmakhi
  • Formulation of 72 Melakartas
Raga Bhimpalasi Bada Khayal
  • Review
  • Swar Vistar in Bhimpalasi
  • Paltas in Bhimpalasi
  • Bada Khayal in Bhimpalasi
  • Aalap with the Bhimpalasi Bada Khayal
Raga Kamod
  • Introduction to Raga Kamod
  • Swar Vistar in Kamod
  • Paltas in Kamod
  • Chhota Khayal in Kamod
  • Aalap and Taan in Kamod
  • Comparative study of Kamod, Kedar and Hamir

The student is able to

  • Sing Swar Vistar in Raga Sohini.
  • Present a Chhota Khayal in Sohini with Aalap and Taan
  • Present the self composed Tarana
  • Present the Bada Khayal inBhimpalasi with Aalap Badhat, Bol Aalap and Taan
  • Present the Chhota Khayal in Bhimpalasi with extempore Aalap and self composed Taan
  • Demonstrate the Raga Chalan of Ragas Marva and Sohini 
  • Present Raga Kamod with Aalap and Taan
  • Demonstrate the Raga Chalan of Ragas Kedar, Kamod and Hamir
  • Identify the Ragas learnt by listening 
  • Write a paper about the Ragaang system and Raga Ragini system