Madhyama Purna
This course expects the student to have attained a basic level of competence in the overall understanding of music. This is best tested through the way the pupil responds to the tanpura. Thus, he/she will be required to tune the tanpura to the appropriate swaras.
syllabus
1. Kharja Sadhana – Gharana Style Riyaz.
2. Techniques To Practice Thaat.
3. Deep Study of Bada Khayal & Exploring Raga.
4. Chota Khayal- Raga Exploaration.
5. Comparative Study of Ragas.
6. Learning Taan Types.
7. Deep Study of Dhrupad-Dhamar.
8. Learning Dhrut Tarana & Bandish ki Thumri.
9. Learning Gazal, Bhajan, Lokgeet, Natyageet.
10. Vilambit & Dhrut Taal Practice.
11. Practice Session / Exam Preparation.
12. Theory.
1. Kharja Sadhana – Gharana Style Riyaz.
Understanding morning riyaz in gayaki style, swara lagav, kan swara, alapi, voice modulation. Developing the riyaz technique & practice to achieve perfection.
2. Techniques To Practice Thaat.
Practicing all 10 thaats. Deep understanding by explaining individually. Understanding raga practice and that raga or janak raga.
3. Deep Study of Bada Khayal & Exploring Raga.
More on Raga vistar (mandra through tar saptak), aroh-avroh-pakad, bada khayal bandish with notation, bandish with Vilambit taal. Understanding structure of the bandish, astai-antara bol alap, astai bol banav & sargam & taan. Also learning Chota khayal bandish. Self study to detect bandish notation, astai-antara alap, astai taan. Preparing two ragas from Bhimplas, Puriya, Dhanashri, Chayanat, Asavari, Jayjaywanti.
4. Chota Khayal – Raga Exploaration.
More on raga vistar, aroh-avroh-pakad, bandish with taal, astai –antara bol alap, astai bol banav, astai taan for all ragas. Self study of 1 raga bandish preparation with notation along with 2 raga preparation astai-antara akar alap and taan. Ragas Kamod, Bahar, Bhairavi, Hindol, kalingada.
5. Comparative Study of Raga.
Learning difference between the ragas, comparative study of raga with a similar raga notes to focus on challan, detailed practicing of ragas.
6. Learning Taan Types.
Understanding & practicing taan prakrat, sapat-saral taan, vakra taan, koot taan, Mishra taan, gamak taan. Focus on practicing taan & taan prakar considering different aspects of taan practice.
7. Deep Study of Dhrupad-Dhamar.
Preparing dhrupad in any 2 ragas. Focus on Swara vistar of nom-tom alapi pattern . Learning Dhrupad bandish in different taal, astai alapi and layakari (dugun-tigun-chougun).
8. Learning Dhrut Tarana & Bandish ki Thumri.
Preparing 2 taranas in a raga. Understanding nom-tom type alapi along with tarana with different taal, astai alap and taana. Learning about Bandish ki thumri and exploring aesthetics of Bandish ki thumri. Learning with taal & preparing for one Bandish ki thumri.
9. Learning Gazal, Bhajan, Lokgeet, Natyageet.
Raga based Gazal yaman like ranjishi sahi. Bhairavi raga based Bhajan. Any lokgeet such Kesariya balama. Preparing any natyageet such as Ghei Chhand Makrand.
10. Vilambit & Dhrut Taal Practice.
Learning & practicing vilambit ektaal, teentaal, zaptaal. Along with dhrut taal with dadra, rupak, keherva, zaptaal, ektaal, choutaal, dhamar, jhoomra, dipchandi, addha teentaal, teentaal. Every taal detailed information with dugun, tigun and chougun.
11. Practice Session / Exam Preparation.
Listening to all gaan prakar (bada khayal, chota khayal, raga, dhrupad-dhamar, tarana, gazal, bhajan, lokgeet, natyageet). Dedicated practice session alongside Palta exploration, taana, laya-taal practice etc .
12. Theory.
Definations -Purvang, uttarang, khatka, murki, gamak and etc. Biography – Pt. Balkrishna Buwa Ichalkaranjikar, Ustad Abdul Karim Khan.Types of taans, Dhwani and its origin, Kampan and Andolan. 22 shruti and classifications on the basis of Swara.Characteristics of an ideal Singers – instrumentalist.