USD 589


Course duration
12 week(s)
Max class size
1
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The three Ragas in this course, Nayaki Kanada, Kalavati and Madhuvanti will not just be explored with their distinctive characteristics in mind, the concept of Taals and Bandhishes will also be researched deeply through these Ragas. Nayaki Kanada, with its Vakra and typical phraseology, has a popular Bandhish that is sung both as a Vilambit and as a Drut Bandhish. How does the Taal impact the lyrics and vice versa? How does this kind of flexibility compare with the well coded suitability of certain Taals for particular Bhavas in the Karnatik music tradition? Using another popular Drut Khayal Bandhish in Kalavati, this course will investigate how the Taal fits the lyrics – could that be set in another Taal and sound equally effective? Students will attempt to compose Bandhishes in a Taal that is different from their traditionally set composition in Madhuvanti. Interviewing well known Laya experts and percussionists, students will compile opinions on the matter of flexibility of Taal and Bandhish in Hindustani Music and arrive at their own conclusion. Theory- Principles of Laya and Taal, Concepts of improvisation in Tabla, Taal concepts in Carnatic Music, Kanada Ke Prakar

Course Format

Batch Size: 1

Duration: 12 weeks, one 45 mins lesson per week

Objectives

  • To sing Swar Aalap in the Ragas Nayaki Kanada, Kalavati and Madhuvanti
  • To learn a Bada Khayal and Chhota Khayal with development in Nayaki Kanada and Madhuvanti
  • To learn a Chhota Khayals in Raga Kalavati
  • To get an insight into the Kanada Ang Ragas
  • To explore the Laya and Taal concepts applied to create a composition and the influences of Gharana traditions on the same.
  • To be acquainted to the Taal system of Carnatic Music

 Learning Outcomes

The student is able to

  • Present the Ragas Nayaki Kanada and Madhuvanti for 45 min
  • Present Chhota Khayal in Raga Kalavati for 20 min
  • Present a self studied semi classical composition in Kalavati
  • Present a paper on Principles of formulation of Taals as suitable for a Bandish rendition in a particular Raga

The student has completed HV408 at the academy OR the student has learnt Hindustani Vocal for at least 10 years. The student needs to fulfill the pre requisites set by the academy.

Nayaki Kanada
  • Introduction to Raga Nayaki Kanada
  • Raga Characteristics of Nayaki Kanada
  • Bada Khayal in Nayaki Kanada
  • Chhota Khayal in Nayaki Kanada
Kalavati
  • Introduction to Raga Kalavati
  • Raga Characteristics of Kalavati
  • Chhota Khayal in Kalavati
  • Bhajan in Kalavati
Madhuvanti
  • Introduction to Raga Madhuvanti
  • Raga Characteristics of Madhuvanti
  • Chhota Khayal in Madhuvanti
  • Bada Khayal in Madhuvanti
Principles of Laya and Taal
  • Concepts of improvisation in Tabla
  • Kayda, Palta, Paran review
  • Composition of a Bandish in Taal
  • Influence of Gharana traditions on Banishes set in specific Taals and Laya
Taal Concepts in Carnatic Music
  • The 7 Taal Jaatis
  • The Carnatic Taala system
  • Adaptation and equivalents in Hindustani Taalas
Kanada ke Prakar
  • Kanada Ragang
  • History connected with Kanada Ragaang
  • An overview of Kanada family Ragas