Visharad Purna
By the time this level is attained, the student is considered proficient in the field of music. He/she should be aware of the nuances of the different ragas, and have his/her independent understanding, and more importantly, should be able to express and explain this to the listener. Tuning one’s own instrument expertly is an aspect that has special significance here. The student should also be able to perform the different forms of music like dhrupad, thumri in their appropriate styles.
syllabus
1. Deep Study of Gharana Style Riyaz.
2. Exploring Vilambit khayal Raga in Gharana Style.
3. Exploring Dhrut Khayal Raga in Gharana Style.
4. New Compositions Self Study & Practice.
5. Dhrupad-Dhamar – Nom-Tom, Bolbaat, Layakari.
6. Deep Study of Tarana & Trivat.
7. Deep Study of Thumri Dadra & Hori.
8. Learning Raagmala.
9. Revising All Ragas & Self Study.
10. Deep Study of Vilambit – Dhrut tala & Laya Prakar.
11. Art of Listening & Practice Sessions.
12. Theory
1. Deep Study of Gharana Style Riyaz.
Learning to exel in morning riyaz in gharana gayki, swara riyaz, palata riyaz, kanaswara riyaz, raga riyaz, alap-taana pattern riyaz.
2. Exploring Vilambit Khayal Raga in Gharana Style.
Exploration of raga and deep study of raga vistar, vilambit bandish with taala, raga badhat alapi, bolbanv, saragam, taan, dhrut bandish. Learning to self study of 2 raga with alap and taan from Goudmalhar, M. Todi, Lalat, Shree, Purvi, Marva, Goudsarang.
3. Exploring Dhrut Khayal Raga in Gharana Style.
Exploration of raga and deep study of swara vistar, dhrut bandish in different taal, astai-antara alapi, raga badhat, saragam, taan. Learning to self study of 2 raga with alap and taan from Sohni, Kafi, Jogi, sindora, tilang.
4. New Compositions Self Study & Practice.
Self studying of new compositions. Sargam geet, bandish, dhrupad, dhamar, tarana, dhrut khayal, alap-taan, etc .
5. Dhrupad-Dhamar – Nom-Tom, Bolbaat, Layakari.
Focusing on Raga nom-tom alapi, dhrupad bandish with taal, alapi, bolbaat, layakari. For any 2 dhrupad- dhamar preparation of any 2 ragas. Self study of 1 dhrupad and dhamar.
6. Deep Study of Tarana & Trivat.
Preparation of any 2 tarana and 1 trivet in any 2 ragas. Moving further with raga vistar, tarana, trivat, alapi and taan. Self study to learn detecting tarana and trivat notations .
7. Deep study of Thumri Dadra & Hori.
Preparing one thumri and one dadra in any of the ragas. Thumri style raga vistar, thumri with taal along with thumri style alapi, sargam, taan. Trivat raga vistar, bandish, alapi, sargam, taan. Understanding Hori & its preparation with taal.
8. Learning Raagmala.
Learning Raga vistar, raagmala bandish, astai-antara alap. Taan oriented study for raagmla alapi and preparation of one ragamala.
9. Revising All Ragas & Self Study.
Revising and practicing all the learnt ragas along with self study of raga challan, bandish.
10. Deep study of Vilambit – Dhrut Taal & Laya Prakar.
Preparing all the basic taal with dhugun, tigun, chougun. Detailed study of laya prakar, vilambit, madhya, dhurt laya. Learning to sing alongside theka through self practice. TAAL :- Jhumra, adachoutaal, mattataal, surfakta, v. teentaal, v.ektaal, v.jhumra, v. tilvada, m.zaptaal.
11. Art of Listening & Practice Sessions.
Listening to all ragas, dhrupad-dhamar, thumri, dadra, tarana, trivat, hori, etc. Revising all learning ragas, dhrupad-dhamar, tarana, thumri, dadra, hori, etc. Performance focused complete practicing and exam preparation.
12. Theory.
Understading & writing practice. Understanding biography of ligents artists, gharana study, hindustani and carnatic music system study, 22 shruti divisions, alpatva-bahutva, avirbhav-tirobhav, notation writing. Practicing Pt. Bhatkhande and Pt. Paluskar notation system study, raga ragini system, etc.