USD 505

Course duration
12 week(s)
Max class size
Study Hours Per Week
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Raga Poorvi is one of the concert favourite evening Ragas. The Bada Khayal is learnt in this course with Aalap Badhat, Bol Aalap and Taan. Singing Swar Vistar, composing and singing various Swara patterns in the Paltas of Poorvi is practised during this course. The Chhota Khayal in Poorvi is also sung with development of Aalap and Taan.

Raga Gaud Sarang is a Raga which combines beautiful musical phrases into melodious designs. The Bada Khayal in this RAga is practiced.  

Raga Desi, also known as Desi Todi is a morning Raga, introduced in this course.  Raga Desi is an interesting Raga which acquires form with the zig zag movements of Swara combinations. A Chhota Khayal is introduced in this Raga which has the potential to be developed and elaborated in all three Saptaks.

The student composition done in the previous course in Raga Shree could be reviewed. Recitation of Jhaptaal in Dugun is practiced.

Theory –Important musical concepts from Bharata Natya Shastra and Sangeet Ratnakara. Review Raga characteristics of Ragas learnt.

Course Format

Batch Size: 1

Duration: 12 weeks, one 45 mins lesson per week


  • To learn the Bada Khayal in Raga Purvi with Aalap and Taan
  • To study the Raga Roop of Gaud Sarang and do the Swar Vistar
  • To learn the Bada Khayal in Raga Gaud Sarang with Aalap and Taan and review the Chhota Khayal
  • To study the Raga Roop of Desi and do the Swar Vistar
  • To learn a Chhota Khayal in Raga Desi with Aalap and Taan
  • To practice reciting Jhaptaal in Dugun
  • To collate and compare the chapters on Music in Bharata Natya Shastra with Sharangdev’s Sangeet Ratnakar.



The student has completed HV309 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, Bhimpalasi 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.

NatyaShastra and Sangeet Ratnakar
  • Chapters dedicated for Music in the Natyashastra
  • Key concepts discussed in Natyashastra
  • Sangeet Ratnakara
  • Key concepts discussed in Sangeet Ratnakara
Raga Purvi Bada Khayal and Chhota Khayal
  • Introduction to Raga Purvi -Review
  • Raga Characteristics of Raga Purvi - Review
  • Raga Purvi Swar Sadhana and Swar Vistar
  • Raga Purvi Paltas
  • Raga Purvi Chhota Khayal
  • Raga Purvi Bada Khayal Bandish
  • Raga Purvi Aalap and Taan in Bada Khayal
Raga Desi
  • Introduction to Raga Desi
  • Raga Characteristics of Raga Desi
  • Raga Desi Swar Sadhana and Swar Vistar
  • Raga Desi Chhota Khayal
  • Raga Desi Aalap and Taan in Chhota Khayal
Raga Gaud Sarang Bada Khayal
  • Gaud Ssrang Bada Khayal Bandish
  • Gaud Ssrang Bada Khayal Aalap
  • Gaud Ssrang Bada Khayal Bol Taan and TAan

The student is able to

  • Sing Raga Purvi, Desi and Gaud Sarang with perfect Sur and insight into the Raga Roop
  • Present the Chhota Khayal in these Ragas with Aalap and Taan within the Taal structure
  • Present Bada KHayal in Raga Gaud Sarang
  • Present the Bada Khayal in Purvi with Aalap and Taan
  • Present the self composition in Jhaptaal
  • Recite Jhaptaal in Dugun
  • Understand how Bharata Natyashastra forms the basis of classical music studies and the evolution of thought through Sageet Ratnakar.
  • Identify Ragas by listening