USD 449


Course duration
12 week(s)
Max class size
1
Study Hours Per Week
18
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Raga Goud Malhar is a beautiful melody, the names indicating that this is sung during the rainy season. The Raga is derived from folk melodies and manifests itself in a unique way in its classical form.

Raga Shree is introduced in this course. The Swaras of Shree are to be practiced by doing Swar Sadhana exercises in this Raga. Swar Vistar is done as the student starts the journey into this meditative Raga. Paltas are composed and practiced in this Raga. The Swara combinations in this Raga are unique and the student would focus on achieving perfection in singing this Raga. A Chhota Khayal in Shree set to Teentaal is learnt.

Raga Darbari has been introduced and explored earlier.

The notes of Raga Adana are same a s Darbari, but the persona of Adana differs from that of Darbari. This fast paced Raga is studied by learning a Chhota Khayal with improvisation.  

Raga Shankara is reviewed.

Theory – Gandharva Gaan, Jati Gayan and Ragas. Review Raga characteristics of Ragas learnt

Course Format

Batch Size: 1

Duration: 12 weeks, one 45 mins lesson per week

Objectives

  • To learn the Bada Khayal in Raga Darbari
  • To sing Aalap and Taan with Layakari concepts with in Darbari Bada Khayal
  • To do Swar Sadhana with Swaras of Shree
  • To learn the Raga Chalan of Shree, Swar Vistar and Paltas
  • To learn a Chhota Khayal in Raga Shree
  • To learn a Chhota Khayal composition in Shree with Aalap and Taan
  • To learn Raga Adana
  • To understand the Raga characteristics of Darbari and Adana
  • To create the mood boards of Raga Darbari and Raga Adana
  • To research Gandharva Gaan, Jati Gayan and Raga

 

 

The student has completed HV308 at the academy OR the student has learnt Chhota Khayal in about thirty five Ragas and is able to present at least 20 Ragas with Swar Vistar Aalap and Taan. The student is able to sing Bada Khayals with Aalap and Taan in Yaman, Bhairav, Bhupali, Bihag, Bageshri, Malkauns, Jaijaivanti Todi and Darbari and one Thumri composition in Des or Khamaj. The student is able to compose Sargam Geet/Tarana in the Ragas learnt set to different basic Taals.

The concept of Raga
  • Brihaddeshi,Sangeet Ratnakar, Dattilam
  • Gandharva Gaan and JatiGaan
Raga Goud Malhar Chhota Khayal Khayal
  • Raga Goud Malhar Swar Vistar
  • Raga Goud Malhar Paltas
  • Raga Goud Malhar Chhota Khayal Bandish
  • Raga Goud Malhar Chhota Khaya Aalap and Taan
Raga Shree Chhota Khayal in Teentaal
  • Introduction to Raga Shree
  • Raga Characteristics of Raga Shree
  • Swar Vistar in Raga Shree
  • Raga Shree Teentaal Bandish
  • Raga Shree Teentaal Chhota Khayal Aalap and Taan
Raga Adana Chhota Khayal
  • Raga Adana Introduction
  • Raga Adana Characteristics
  • Raga Adana Swar Vistar
  • Raga Adana Paltas
  • Raga Adana Chhota Khayal
  • Raga Adana Chhota Khayal Aalap and Taan
Raga Shankara Chhota Khayal
  • Raga Shankara Raga Chalan - Review
  • Raga Shankara Chhota Khayal- Review
  • Raga Shankara Aalap and Taan

The student is able to

  • Sing Raga Shree with perfect Sur and Bhaav
  • Present the Chhota Khayal in Shree set toTeentaal
  • Present Adana Chhota Khayal with development,  Aalap and Taan
  • Demonstrate the difference between Darbari and Adana Raag Roop.
  • Present the Chhota Khayal in Shankara with Aalap and Taan
  • Identify and distinguish similar Ragas learnt till now
  • Collate salient features about Gandharva Gaan, Jati Gayan and Raga
  • Identify Ragas by listening