Instruments

Pentatonic scale starting on C (5 notes)

C major contrary motion scale

Chromatic scale starting on D

Triad of C major and A minor (root position)

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

Pentatonic scales starting on G and F (5 notes)

Chromatic scale in contrary motion starting on D

C major contrary motion scale

Triad of F and G major, D and E minor (root position and first inversion)

Chord of F7 and G7 (root position and first inversion)

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

Chromatic scale in similar motion starting on Bb

Pentatonic scale starting on Bb and D (hands separately)

A harmonic minor contrary motion scale

Triad of Bb and D major, G and B minor (root position, first and second inversions)

Chord of Bb7 and D7 (root position, first and second inversions)

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

Chromatic scale in similar motion starting on Eb

Eb major contrary motion scale

Minor pentatonic scale starting on C and G

Triad of Eb and A major, C

F# minor (root position, first and second inversions)

Chord of Eb7 and A7 (root position, first, second and third inversions)

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

Chromatic scales in similar motion starting on Ab and E

Ab major contrary motion scale

Blues scale starting on C and G (straight and swung rhythm)

Triad of Ab and E major, F and C# minor (root position, first and second inversions)

Chord of Ab7, E7, Fm7 and C#m7 (root position, first, second and third inversions)

Chord of Ab+, E+, F°, C#°, F#°7, C#°7 (root position)

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

Chromatic scales in similar motion starting on Db and B

G harmonic minor contrary motion scale

Blues scale starting on F and A (straight and swung rhythm)

Chords of Dbmaj7, Bmaj7, Bbm7, G#m7,

Bbmmaj7, G#mmaj7, Db6, B6, Bbm6,G#m6

Chord of Ab+, E+, F°, C#°, F#°7, C#°7 (root position)

Perfect cadence in C, G and F major

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

D, F, G# and B harmonic and melodic minor

Chromatic scales in similar motion starting on any black note

Major pentatonic scale starting on D and Ab (straight and swung rhythm)

Blues scale starting on D and E (straight and swung rhythm)

Triads of D, F, Ab and B major, D, F, G# and B minor in all inversions

Chords of D°, F°, G#°, B°, Dm7, Fm7, G#m7, Bm7, Dmaj7, Fmaj7, Abmaj7, Bmaj7 in root position only

Plagal cadence in D and F major

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

C, Eb, F# and A harmonic and melodic minor

Chromatic scales in similar motion starting on any white note major scale in legato thirds

Major pentatonic scale starting on Eb and A (straight and swung rhythm)

Blues scale starting on B and Bb (straight and swung rhythm)

Triad of C, Eb, F# and A major, C, Eb, F# and A minor in all inversions

Chords of C°7, Eb°7, F#°7, A°7, C+, Eb+, F#+, A+, C9, Eb9, F#9, A9 in root position only

Perfect and plagal cadence in A major and C minor

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

C#, E, G and Bb harmonic and melodic minor

Chromatic scales in similar motion starting on any note

Chromatic scales with hands a minor third apart starting on Bb and Db

Major pentatonic scale starting on E and Db (straight and swung rhythm)

Blues scale starting on C# and G# (straight and swung rhythm)

Triad of Db, E, G and Bb major, C#, E, G and Bb minor in all inversions

Chords of C#°7, E°7, G°7, Bb°7, Dbadd9, Eadd9, Gadd9, Bbadd9, C#m7(b5), Em7(b5), Gm7(b5), Bbm7(b5) in root position only

Perfect, imperfect and plagal cadence in Bb major and G minor

8- 10 peices from syllabus / lesson book

Q & A session / Counselling

Presentation/ Assessments

Perform audibly with a sense of enthusiasm and enjoyment and with some awareness of audience

Demonstrate that the foundations of a secure technique have been established

Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation

Q & A session / Counselling

Presentation/ Assessments

Perform accurately and be able to create and convey mood to the audience

Show evidence of a basic familiarity with the fundamentals of instrumental/vocal technique.

Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.

Demonstrate an overall sense of performance with basic confidence and some capacity for audience engagement

Q & A session / Counselling

Presentation/ Assessments

Perform clearly and accurately and be able to create and convey mood to the audience

Show evidence of a technical command of the instrument/voice

Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.

Learn songs apart from the syllabus

Q & A session / Counselling

Presentation/ Assessments

Perform clearly and accurately, with a sense of spontaneity and be able to create and convey mood to the audience.

Show evidence of a fluent technical command of the instrument/voice

Demonstrate a range of technical and musical abilities through either a quick study piece or an improvisation.

Learn songs apart from the syllabus

Q & A session / Counselling

Presentation/ Assessments

Perform clearly and with projection, supporting mood and character and engaging with the audience.

Show evidence of a basic exploration of and familiarity with the fundamentals of instrumental/vocal technique.

Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.

Learn songs apart from the syllabus

Q & A session / Counselling

Presentation/ Assessments

Perform confidently with projection, control and engagement with the audience

Show evidence of consistent application of developing technical skills and sound production

Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.

Learn songs apart from the syllabus

Q & A session / Counselling

Presentation/ Assessments

Perform with confidence and a sense of ownership and self-awareness that engages the audience wholeheartedly

Show familiarity with the full compass of the instrument/voice and use some advanced techniques

Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.

Learn songs apart from the syllabus

Q & A session / Counselling

Presentation/ Assessments

Perform with confidence and a sense of ownership and self-awareness, which engages the audience

Show familiarity with the full compass of the instrument/voice and employ advanced techniques

Demonstrate a range of technical and musical abilities through either a quick study.

Learn songs apart from the syllabus

Q & A session / Counselling

Presentation/ Assessments

Perform with confidence and a sense of authority and control that engages the audience wholeheartedly

Show familiarity with the full compass of the instrument/ voice and employ advanced techniques with even control across all registers

Introduction to all basic Tabla Bol

Playing of Tabla Bol and recognition of its sound

Sem 02:

Meaning of Taal

Meaning of Kayda

Meaning of Laya

Sem 03:

Knowledge of Taal,Dadra, Teentaal & Keherwa

Vilambit Ttheka of Teentaal

Two Qayade with four Palte each: Tit & Tirkit

Demonstrating Taal with hand signals – marked bars & playing on the tabla

Learning & playing the Tthekas of Teentaal, Jhaptaal, Ektaal, Chartaal & Dadra both in basic and double tempos

Theory topics : Knowledge of 10 VARN of the Tabla, Complete familiarity with Taals & Tthekas of the Taals prescribed, write the Taal according to Vishnu Digambar or Bhatkhande system of notation, both in the basic & double speed, specifying beats, bars, Sum, Khali and Taali, etc.

Sem 102:

Two easy Qayade with four Palte each

Two Mohara

Two easy Tukure in Teentaal

Theory topics : Notations of Tukure, Paran & Mohre Definition & knowledge of the following terms : Taal, Maatra, Laya ( Vilambit, Madhya & Drut Laya)

Sem 103:

Two different Qayade with four Palte

Two short Tukure in each Jhaptaal, Ektaal & Chartaal

Some variation in Dadra Taal

Theory topics : Defination and knowledge of following termts: Vibhaag, Sum, Taali / Bhari, Khaali, Avartan, Tthaah, Dugun, Chaugun, Ttheka, Bol, Qayada, Palta, Tihai, Mohara, Mukhra, Tukra, Qismein (Varieties)

Playing of Ttheka of Roopak, Sool taal, Tivra, Deepchandi, Keherwa & Tilwara Taal on the tabla & reciting the Tthekas with clap, no-clap, - marked bars in basic and double & quadruple tempo.

Barring Keherwa, two Mukhre, two Tihai & two easy Tukre in these Taal. Theka variations in Keherwa Taal

Theory topics : Definitions with comments on Sound, Kinds of Sound, Origin of Sound

Sem 202:

Two difficult Qayade with four Palte each, different from the ones of the 1st Level

One easy Rela, Ttheka variations

One presentable Mukhra

One easy Tukura, Uthan, Mohra, Tihai & Paran all in the Teentaal

Theory topics : Definition and knowledge of following terms: Uthan, Sangat, Solo performance (Swatantra – Vadan)

Sem 203:

One easy Rela, Ttheka variations

One easy Mukhra, Tukura, Uthan, Mohra, Tihai & Paran all in the Teentaal

Some varities of Theka in Jhaptaal, Ektaal & Chartaal with two presentable Mukhre, uthan, 2 Mohare, 2 Tiya & 2 Tukre

Two Qayade with two Palte each in Jhaptaal & Ektaal. Other varities of Dadra.

Significance of Tabla in Music

Ability to tune the tabla

Elemententary practice in Sangat of Vocal songs

Special Attention on clarity and speed. Preparation of new and presentable Mukhra, Mohra, Tihais, Qayadas, Palte, Rele, Tukare, Parne Theka- varieties and easy gats in Teen-Taal

Definitions & topics : *Sangeet, Gat, Aad, Baat, knowledge of parts of Mirdangam including the purpose of putting dough on one side, comparison of Tabla and Mridangam, their detailed history and the system of their tuning.*Various Baaj of tabla. Study of Jati, definitions of Tistra, Chatastra, Mishra, Khand & Sankeern Jati, Shruti, Swar, Kinds of Swar ( Chal, Achal, Shuddh, Vikrit)*Aaroh & Avroh

Sem 302:

New and nice Mukhre, Mohre, Tihai, Theka- varieties, Qayade – Palte, two Rela and two big Paran each in Jhap Taal, Ektaal and Chartaal ( No Qayade – Palte in Chartaal). Some good varieties of Ttheke and two Tihai each in Dadra and Keherwa Taal, Two new Mukhre, Mohre, Tihai, Tukre and Paran each in Sool Taal and Tivra Taal.

Study of the good and bad points of Tabla and Mridangam players as described in the Shastr

Knowledge of the parts of alphabets of Mridangam for Tabla student

Sem 303:

New – Taal : Aada Chartaal, Dhamar, Dhumali, Jhoomra, Jat – Ability to recite Ttheke of these Taal with clap-marked bars, also in basic, double and quadruple speeds and to play these Taal with clarity in the basic speed, on the Tabla. Ability to recite the Taal –Ttheke prescribed in the earlier years with clap-marked bars in the basic, double and quadruple speeds. Two Qayade, two Tukre, one Paran, two Tihai each in Aada Chartaal, Dhumali, Jhumra and Jat Taals have to be executed. Saath Sangat two tihais, two Paran and Lapet each have to be practised on the Mrindangam in Dhamar, Teevra and Sool Taal

Definitions & topics : Tistra

Brief biographies of Ustad Ahmadjan Thirkawa and Kanthe Maharaj

Essays on subjects allied

Ability to tune the tabla

Technique of tuning the Tabla and practice in sangat in easy Taal of songs and Gat as also solo performance to the accompaniment of Lahra.

Teentaal Vilambit Theka

Teentaal Peshkar

Teentaal – Special finish & rapid performance of these Taal precribed earlier with some learning ahead , for example – presentable Theka varieties, Mukhra, Uthan, Tihais, Mohre, Qayade – Palte, Rele, Tukre, Parans, Gate, Chakkardar Tukde & Tihai of different beat-length.

Theory Topics : *Knowledge of recording notation of Taal prescribed this year and the years before alongwith various rhythmic speeds like double, triple, quadruple, Aad and Kuaad, etc. Candidates must be fully prepared with writing Taal notation of various kinds of Qayade, Tukde, Parans, etc. In accordance with the systems of both Pt. Bhatkhande andPt. Vishnu Digambar Paluskar. *Detailed and comapritive study together with all merits and demerits of the Taal-notation-system of both Pt. Vishnu Digambar and Pt. Bhatkhande.

Sem 402:

Jhaptaal Vilambit Theka

Jhaptaal Peshkar

Jhaptaal – Special finish & rapidperformance of these taals precribed in the earlier with some learning ahead , for example – presentable Theka varieties, Mukra, Uthan, Tihais, Mohre, Qayade – Palte, Rele, Tukre, Paran, Gat-types, Chakkardar Tukde & Tihai of different beat-length.

New Taal: Pancham Sawari, Tappa, Addha, Punjabi, Gaj-Jhampa, Matta, Ability to play Theke of these Taals in slow tempo (Vilambit) speed only and Vocally demonstrate the Taal-Theke with clap-marking

Theory Topics : *Ability to calculate starting points of double, triple quadruple, Aad and Kuaad, etc. Speeds in various Taal-Tthekas and recording those speeds in Taal-notation

Sem 403:

Ektaal Vilambit Theka

Ektaal Peshkar

Ektaal – Special finish & rapid performance of these Taal precribed in the earlier semesters with some learning ahead , for example – presentable Theka varieties, Mukhre, Uthan, Tihai, Mohre, Qayade – Palte, Rele, Tukre, Paran, Gat, Chakkardar Tukde & Tihai of different beat-length.

Sooltaal & Teevra Taal – some good Mukhre & Tukra

Theory Topics : *Comparitive study of Taal having the same number of beats *Detailed study of all terms defined in the earlier years together with their practical significance, also of Peshkar, Sath- Sangat

Shikhar & Brahma Taal: Telling clap – marked Thekas, playing them on tabla

Theory Topics : *Ability to record –Taal – notation of all prescribed Taal, Tukre & Paran etc. In all speeds.
*Improviszation of new Tukras on varying beat lengths. Ability to calculate commencement points of various speed- movements.

Sem 502:

Special preparedness in playing the Taal precribed in the earlier years, on the Tabla or the Mridangam. Ability of presentable Solo performance on any of these two instruments.

Rudra & Laxmi Taal: Telling clap – marked Tthekas, playing them on tabla

Theory Topics : *Comments on Taan, Aalap, Jor, Jhala, Dhrupad, Dhamar, Khayal, Thumri, Tappa, Gats of instrumental music and their varieties like Maseetkhani and Razakhani Gat *Comparative study of Taal of even and odd matras (Sampadi & Vishampadi)

Sem 503:

Knowledge of the initial placement of the hand and its use on the Mrindanga is expected of Tabla students and vice – versa.

Gaj Jhampa Taal: Playing easy Tukre, Paran etc

Theory Topics : *Comparative study of various prevelant Taal – notation systems
*Comparative study of Taals of identical number of beats

Sem 504:

Matt Taal : Playing easy Tukre, Paran etc

Knowledge of Sangat (accompaniment) with prevalent system of singing and various styles of playing string instruments.

Theory Topics : *Ability to write essays on topics, generally connected with music and Laya, Taal, Avanaddh Vadya

Indepth practice of orally demonstrating various Taal and their Tukre in different rhythmic speeds, also with clap-marking

Theory Topics : *Comparative study of the study of Tabla-playing styles of various Gharanas of the Eastern & Western Baaj(Styles). Searching study of the styles of Sarvasri Kodau Singh, Khabbe Husain, Nana Panse & Parvat Singh. Difference between bols of the Tabla & Mridangam. Difference in the styles of Sath, solo playing and detailed account of their modes of performance. Art of Sangat. Suggestions for improvment in percussion instruments. Famous tabla players and their specialities. Relation between Swara and Laya. Place of Taal in Western Music along with Source-instruments of taal. Best system of Taal-notation. Study of western beat and rhythmic systems. Basic knowledge of the Western Taal System.

Sem 602:

Ada Chartaal, Dhamar, Pancham Sawari: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.

Proficiency in solo-performance

Demonstration, both by clap makring and playing on the Tabla,T theke of Qaid-farodast, Kumbha

Theory Topics : * Knowledge of Chhand and Pingal Shastr
* Definitions of Swara Vistar, Bol-Bant, Bahlawa, Chaturang, Tarana and Tirarvat

Sem 603:

Chartaal, Sooltaal & Gaj jhampa Taal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.

Demonstration, both by clap makring and playing on the Tabla, Tthekas of Basant, Sawari Taal.

Detailed study of the taals precribed in earlier courses, cultivation of new, difficult and presentable Bol and Paran and ability to distinguish special compositions of different Gharanas in various Taal, are expected of the candidates.

Theory Topics : *Ability to write essays on general topics of music, Taal and Laya
*Biographies of well known Tabla and Mridangam players and critical study of their styles of playing

Sem 604:

Tevra, Roopak & Lakshmi Taal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.

Tuning of Tabla : .....

Learning some quality Mohre, Ttheka varieties of Taal prescribed in the 4th, 5th & 6th level

Theory Topics : *Detailed and comparative study of all definable terms and topics prescribed in the First to the Sixth Year courses
*Study of and suggestions for popularizing less prevalent Taal prescribed in the first to the Sixth Year – courses
*Complete knowledge of recording all the Taal prescribed in the earlier years alongwith other cultivated material, in accordance with Bhatkhande and Pt. Vishnu Digambar systems.
*Comparative study of all Taals prescibed so far
* Complete knowledge of notation of Taal in various rhythmic speeds
* Comparative study of the North and South Indian Taal – system
* Knowledge of the staff notation systems
* Knowledge of some Bol and Tore of dance
* Knowledge pf Sangat of different kinds of music on suitable percussion instruments

Raag Bhoopali

Raag Yaman

Taal Orientation

Light Songs on flute

Music Appreciation

Basic understanding of musical terms: History and origin of Indian Classical music and flute, Alankaar, Aaroh, Avroh, Pakad, Vaadi, Samvaadi, Raag, Thaat, Varjit Swar, Komal and Teevra Swar, Gayan samay, Anuvaadi, Vivadi

Q & A session

Presentation / Semester Assessments

Sem 102:

Alankaars – Swar & Taal patterns

Raag Bhairav

Raag Bihaag

Raag Kaafi

Introduction of Taals: Teentaal & Keherva

Raag Based Bhajan, understanding rhythm in Bhajan

Music appreciation

Description of Harmonium

Understanding of the terms: Dhwani, Dhwani ki utpatti, Naad, Shruti, Chal and Achal Swar, Swaron ke poorn Naam, Varn, Sthayi, Antara

Q & A session / Counselling

Presentation / Assessments

Sem 103:

Alankaars (concept of creating Varn and Alankaar thereafter)

Raag Alhaiyya Bilawal

Raag Khamaaj

Introduction to Taraana in Raag Khamaaj and Raag Bihaag

Taals: Chaartaal and Daadra

Layakari in Taals

Music Notations – Swar-lipi writing

Music Appreciation

Introduction to playing the flute on a karaoke track.

Understanding of the terms: Sargam, Taan, Lay

Reading & Writing Swar-lipi of Drut

Difference between Raag Bhoopali and Raag Yaman

Q & A session / Counselling

Final Exams

Introduction to Bada Khayaal - Raag Yaman (Vilambit)

Description of Tanpura and practice to play flute with Tanpura

Raag Durga

Raag Desh

Taal : Ektaal and Rupak

Light Music on flute

Music appreciation

Karaoke sessions on flute

Understanding of musical terms: Aashray Raag, Aandolan, Aandolan sankhya, Naad ki visheshtaayen, Comparision of Shruti n Naad

Reading & Writing swar-lipi of Vilambit

Difference between Raag Khamaaj and Raag Desh

Q & A session

Presentation / Assessments

Sem 202:

Intense Alankaars

Raag Bihaag (Vilambit) (Albele sapne)

Raag Bageshri

Raag Bhimpalasi

Introduce Dhrupad with Taali & Khaali (Raag Yaman)

Taal : Teevra & Sooltaal (with laykaaris)

Raag based Filmy Gazal to play on flute.

Karaoke sessions

Music appreciation/ Listening Session

Understanding of musical terms:- Geet ke prakaar, Geet ke avyav, Grah swar, Ansh swar, Nyaas swar, Vakr swar Comparision of Raags (Raag Khamaaj, Raag Desh and Raag Vrindavani Sarang)

Karaoke sessions

Music appreciation/ Listening Session

Presentation/ Assessments

Sem 203:

Raag Alhaiyya Bilawal (Vilambit)

Raag Vrindavani Sarang

Raag Asavari

Raag Bhairavi

Introduction to Dhrupad with rythmic patterns (laykaari)

Taal : Jhaptaal

Karaoke sessions

Music appreciation

Understanding of musical terms: Chalan and Ang of all the raags, Comparision between Raag Kaafi, Raag Bageshri and Raag Bhimpalasi, Vaadi swar ka raag ke samay ke saath sambandh

Q & A session / Counselling

Recording Studio Session

Final Exams

Raag Hameer

Raag Kedar

Raag Tilang

Taal : Dhamaar

Introduce Tigun Lay

Aalaap (self made)

Music appreciation / Listening session

Karaoke sessions

Introduction of Western classical notes - Keyboard

Understanding of musical terms : Different types of geet: bada khayaal, dhamaar, hori and tappa Mathematical description of 72 thaat by Venkatmakhi & derivation of 484 raags with the help of one Tthaat Division of 22 shrutis into 7 shuddh swar Different types of Taan: Simple, Koot, Mishr & Bol - Taan

Q & A session

Presentation / Assessments

Recording Studio Session

Sem 302:

Paltas and Aalaaps

Raag Kalingda

Raag Jaunpuri

Raag Malkauns

Dhamaar laykaaris

Dhrupad in Malkauns

Taal : Deepchandi & Tilwada

Light Music

Karaoke sessions

Introduction to Western Music – Keyboard Session

Understanding of musical terms: Parts of the Tanpura and the use and importance of those parts; tuning and baithak for a Tanpura and a Tanpura player respectively

Classification of a raag on the basis of the Vaadi swar and the swars used in the scale Sandhiprakash raag and raag with komal G and N

Presentation - Assessments

Recording Studio Session

Sem 303:

Raag based Paltas

Raag Patdeep

Raag Pilu

Raag Bageshri (Vilambit)

Raag Bhimpalasi (Vilambit)

Taal : Jhoomra

Light Music

Recording Studio Session

Music appreciation

Understanding of musical terms:- Virtues and flaws of a flute player Tabla : Parts of the Tabla Jodi and the importance of these parts 4 Major Gharanas; Making of the Tabla; Tuning of the Tabla; 10 Varn of the Tabla; 7 golden rules of Thaats and Raags and the comparison between Raags and Thaats, the relation between magnitude of vibrations and the opulence + smallness of Naad

Q & A session

Assessments

Final Exams

Raag Kamod

Raag Jaijaivanti

Taal : Tappa

Music appreciation

Light music on Flute

Understanding of musical terms : Geet ke prakaar, Nibaddh and Anibaddh gaan, Raag Raagini paddhati

Assessments

Recording Studio Session

Sem 402:

Raags Multani

Raag Marwa

Raag Shankara

Avirbhaav - Tirobhaav

Introduction to Chaturang (Raag Kedar)

Taal : Aada Chartaal

Music appreciation

Light Music

Karaoke session*

Understanding of musical terms: Adhwadarshak swar, samay chakra and Parmel praveshak raag, Adhunik aalaap gayan and taan ke prakaar, Sandheeprakash raag, Sankeern raag, Introduction to the 32 thaats of indian classical music and names of adhunik and praacheen thaats, Swar paddhati comparison between Dakshin and Uttar Bhartiya Sangeet

Assessments

Recording Studio Session

Sem 403:

Raag Sohni

Raag Purvi

Raag Bahaar

Taal : Jat – Taal, Punjabi

Music appreciation

Recording Studio Session

Tabla session

Understanding of musical terms: Comparison between raags like Bhoopali and Deshkaar; Sohni and Marwa; Marwa and Puriya; Miya Malhaar and Bahaar, Kamod, Kedar and Hameer; Multani and Todi

Exams

Raag Shree

Raag Chhayanat

Raag Adaana

Taals : Addha, Matt Taal, Pancham Savari

Music appreciation

Light Music on Flute

Karaoke sessions

Understanding of musical terms: Anibdh geet ke pracheen prakar: raag Aalaap, rupak Aalaap, Gayki-Nayki, History of Shruti and Swar Vibhajan, Shadaj Pancham bhav, Calculation of Andolan Sankhya as per the length of the Taar

Taals : Pancham Sawari and Matt

Raag Comparisons : Khamaj-Dhesh-Jaijaivanti-Gaud Malhar; Poorvi-shree; Chhayanat-Kedar-Hameer-Kamod; Adaana-Aasawari-Jaunpuri

Assessments

Recording Studio Session

Sem 502:

Drupad in Raag Shree

Raag Todi

Taraana in Raag Adaana

Raag Darbaari Kanhaada

Raag Hindol

Taal : Gaj Jhampa

Music appreciation

Light Music on Flute

Karaoke sessions

Theory topics : Alpatva- Bahutva, Aavirbhav-Tirobhav, Essay Writing, Biography

Taals : Adha, Punjabi and Gajjampa

Rang Comparisons : Todi-Multani; Darbari-Adaana; Hindol-Yaman-Kedar-Hameer, Chhayanat-Gaud Malhar

Assessments

Recording Studio Session

Sem 503:

Raag Gaud Sarang

Raag Vibhaas

Raag Puriya

Taal : Punjabi

Music appreciation

Light Music on Flute

Recording Studio Session

Presentation

Understanding of musical terms: Creating Sargams, Thaat wise Raag Comparisons including Raag Puriya-Marwa-Sohani, Chalan of Raags from Level 1 to Level 5

Final Exam

Raag Deshi

Raag Basant

Raag Miya Malhaar

Taal : Lakshmi

Thumri

Music appreciation

Session with Sureshji

Assessments

Recording Studio Session

Sem 602:

Raag Miya Malhaar

Raag Raageshree

Raag Malgunji

Raag Puriya Dhanashree

Taal : Brahma

Music appreciation

Thumri & Gazal

Explain Avirbhaav Tirobhaav with the help of Raags

Session with Suresh Wadkar ji

Assessments

Recording Studio Session

Sem 603:

Raag Shuddh Kalyaan

Raag Ramkali

Raag Paraj

Taal : Rudra

Music appreciation

Avirbhaav Tirobhaav

References to Raag from previous years

Individual singing

Session with Sureshji

Recording Studio Session

Final Exam

Understanding of different grooves used in formulating rhythms.

Conceptualization of basic rhythms in 4/4, 3/4, 7/4.

Introduction to rhythms from different genres.

Developing sense of rhythm and beats.

Produce a performance to showcase the learnings.

Demonstrate enhanced flexibility, strength and stamina of hands.

Conceptualization of basic rhythms in 5/4, 6/4.

Introduction to improvisation in 4/4.

Developing sense of rhythm and beats.

Produce a performance to showcase the learnings.

Demonstrate consistency and improvement in flexibility, strength and stamina of hands.

Conceptualization of complex rhythms in 4/4, 3/4.

Introduction to improvisation in 3/4, 6/4.

Introduction to polyrhythms.

Produce a performance to showcase the learnings

Demonstrate consistency and improvement in flexibility, strength and stamina of hands.

Conceptualization of complex rhythms in 4/4, 3/4.

Introduction to improvisation in 3/4, 6/4.

Introduction to polyrhythms.

Produce a performance to showcase the learnings

Demonstrate accuracy in performing complex rhythms in different time signatures.

Demonstrate accuracy in performing polyrhythms.

Demonstrate musicianship by performing along with other musical instruments.

Understanding concepts to explore the art form further.

Produce a performance to showcase the learnings.

Presentation / Assessments