{"id":2509,"date":"2022-03-20T15:20:58","date_gmt":"2022-03-20T15:20:58","guid":{"rendered":"https:\/\/sampadatv.org\/sampada2025\/?page_id=2509"},"modified":"2022-03-20T16:21:38","modified_gmt":"2022-03-20T16:21:38","slug":"hindustani-vocal","status":"publish","type":"page","link":"https:\/\/sampadatv.org\/sampada2025\/hindustani-vocal\/","title":{"rendered":"Hindustani Vocal"},"content":{"rendered":"

LEVEL 1<\/a>
\nLEVEL 2<\/a>
\nLEVEL 3<\/a>
\nLEVEL 4<\/a>
\nLEVEL 1<\/p>\n

HINDUSTHANI MUSIC (VOCAL) SYLLABUS<\/strong>
\nFirst Year \u2013 Level 1 \u2013 Theory<\/strong><\/p>\n

PART \u2013 A<\/strong><\/p>\n

I. Definitions and Explanations of the following:<\/strong>
\n1. Sangeet, Swar-shuddha \u2013 Vikrut (Teevra-Komal)<\/p>\n

2. Aroha, Avaroha, Pakad, Varjyaswar, Alankar<\/p>\n

3. Sapatak-Mandra, Madhya, Tar.<\/p>\n

II. Definitions and Explanations of the following:<\/strong>
\n1. Matra, Tal, Vibhag, Sam, Tali, Khali, Theka, Bol<\/p>\n

2. Avartan<\/p>\n

3. Laya-Vilambit, Madhya, Drut laya Thaha, Dugun, Chougun laya<\/p>\n

III .Knowledge of names of the Ten Thaats of Hindus \u2013 Shanti Music.<\/strong><\/p>\n

IV. Knowledge of writing the description of the following Talas with their bols<\/strong>
\n1) Keharwa 2) Dadra 3) Ektal, 4) Teental<\/p>\n

PART \u2013 B<\/strong><\/p>\n

I. Knowledge of writing Alankars<\/p>\n

II. Ability to write Keharwa, Dadra, Ektal and Teental in Thaha and dugun laya.<\/p>\n

III. Description of the following Ragas:
\n1) Yaman 2) Bilawal 3) Khamaj 4) Kafi 5) Bhoopli 6) Bhairav<\/p>\n

IV. Ability to write Notations of Sargam with their Swara and Tala signs in all the prescribed
\nragas<\/p>\n

V. For all the six years (Certificate and Diploma Course) Pandit Vishnu Narayan Bhat
\nkhande
\nSwara notation and Tala system should be followed.<\/p>\n

First Year \u2013 Level 1 \u2013 Practical<\/strong><\/p>\n

1. This year\u2019s training will chiefly aim at imparting sound Swara -Gnana, laya gnana and
\nTalagnana<\/p>\n

II. Elementary Swaragnana with Alankaras, should be made to sing with Tabla
\naccompaniment to get basic laya and Talagnana. At least one alankar each should be made to sing in Keharwa,
\nDadra, Ektal and Teental.<\/p>\n

III. Special attention be given to correct Voice production.The shuddha swara aroha, avaroha
\nand simple alankaras should be made to sing in \u2018Akar\u2019.<\/p>\n

IV. A Sargam in each of the prescribed ragas.<\/p>\n

V. Three Lakshangeets in any of the prescribed ragas.<\/p>\n

VI. Drut Khayal in each of the prescribed ragas.<\/p>\n

VII. A Drut Khayal with Alaap and Taan in any one of the prescribed
\nragas.<\/p>\n

VIII. Recitation of Thekas of the prescribed Talas viz :
\nKeharwa, Dadra, Ektal and Teental.<\/p>\n

For more details contact: support@sampada.siliconandhra.org<\/strong><\/p>\n

LEVEL 2<\/p>\n

HINDUSTHANI MUSIC (VOCAL) SYLLABUS<\/strong>
\nCertificate Course<\/strong>
\nSecond Year- Level 2 \u2013 Theory<\/strong><\/p>\n

PART \u2013 A<\/strong><\/p>\n

I. Nad \u2013 its qualities (Magnitude, Pitch, Timbre)<\/p>\n

II. Definitions and Explanations of the following
\nShruti, Swarasthan, Saptak (Mandra, Madhya, TarN Saptak) Alankar, Vakraswar, Varna<\/p>\n

III. Thata, Rag.<\/p>\n

IV. The difference between Thata and Rag \u2013 explanation thereof.<\/p>\n

V. Sthayi, Antara, Sanchari, Abhog \u2013 Parts of Song.<\/p>\n

VI. Laya-Vilambit, Madhya and drut laya, Thaha, dugun, Trigun, Chougun etc.,<\/p>\n

VII. Vadi, Samvadi, Anuvadi, Vivadiswar, Varjaswar,<\/p>\n

VIII. Explanation of : Graha, Ansha, Nyas swar, Meend, Alap Kanswar, Alap, Taan<\/p>\n

PART \u2013 B<\/strong><\/p>\n

I. Explanation of different forms of Musical Compositions
\n1) Sargam, 2) Lakshangeet, 3) Drut Khayal ]<\/p>\n

II. Knowledge of writing Drut Khayal in notation in all the prescribed ragas.<\/p>\n

III. Description of Jhaptal, Choutal, Roopak and Teevra talas and apart from those learnt in
\nfirst year.<\/p>\n

IV. Description of Ragas \u2013 Yaman , Bhupali, Brindavani Sarang, Bhairav and Asavari.
\nCertificate Course<\/p>\n

Second Year \u2013 Level 2 \u2013 Practical<\/strong><\/p>\n

I. A Drut Khayal with and ten in each of the following Raagas
\n1) Yaman 2) Bhairav , 3) Bhupali, 4) Brindabani Sarang<\/p>\n

II. A Sargam and drut Khayal in Raag Asavari and Bhimpalasi<\/p>\n

III. A Lakshangeet in each of the following Raagas viz.<\/p>\n

IV. Dhrupad in Thaha laya in any of the raagas prescribed in either first or second year.<\/p>\n

V. Tarana in any of the prescribed Raagas<\/p>\n

VI. One Bhajan to be taught<\/p>\n

For more details contact: support@sampada.siliconandhra.org<\/p>\n

LEVEL 3<\/p>\n

HINDUSTHANI MUSIC (VOCAL)<\/strong>
\nCertificate Course-Third Year \u2013 Level 3 \u2013 SYLLABUS<\/strong>
\nTHEORY<\/strong>
\nPART \u2013 A<\/strong><\/p>\n

I. Explanation of Raag \u2013 Jati, the nine types of Rag Jati \u2013 a sturdy in detail.<\/p>\n

II. Brief notes: Shuddha \u2013 Chhayalag \u2013 Sankirna Rag. Purva Raag, Uttar raag, Purvangi Vadiraag , Uttarang Vadi raag,
\nAshray raag, Sandhi Prakash raag.<\/p>\n

III. Graha, Ansha, Nyasa swara \u2013 its importance in relation to ancient music.<\/p>\n

IV. Time Theory of Raag.<\/p>\n

PART \u2013 B<\/strong><\/p>\n

I. Description of Raagas prescribed for this year.
\n1) Kedar, 2) Bihag, 3) Bageshri 4) Des) 5) Hameer<\/p>\n

II. Description of Talas \u2013 Deepchandi, Sooltal and Dharmar in addition to the Talas learnt in First and Second Years.<\/p>\n

III. Ability to write Vilambi Khayal and drut Khayal in notation as per the ragas prescribed<\/p>\n

THIRD YEAR \u2013 Level 3 \u2013 PRACTICAL<\/strong><\/p>\n

I) A vilambit and Drut Khayal along with alaap and Taan in each of the following raagas, should be made to sing
\nwith Tabla accompaniment.<\/p>\n

II) Yaman 2) Kedar 3) Bihag 4 ) Bageshri.
\nII. Drut Khayal with alap \u2013 tan in the following Raagas<\/p>\n

III) Desh, 2) Hameer
\nIII. Lakshangeets in any two of the prescribed raagas.<\/p>\n

IV. Tarana in any of the prescribed raagas<\/p>\n

V. A Dhrupad along with its dugun laya in any of the presecribed raagas.<\/p>\n

VI. A Dhamar composition in any of the prescribed raagas<\/p>\n

VII. One Bhajan to be taught.<\/p>\n

VIII. Recitation of the bols on hand in the following Taalas.
\n1) Deepchandi 2) Sooltal 3) Dhamar<\/p>\n

IX The different musical compositions should be made to sing repeatedly with Tabla accompaniment.<\/p>\n

For more details contact: info@sampada.siliconandhra.org<\/p>\n

LEVEL 4<\/p>\n

HINDUSTHANI MUSIC (VOCAL)<\/strong>
\nFourth Year \u2013 Level 4 \u2013 Syllabus<\/strong>
\nTHEORY<\/strong>
\nPART \u2013 A<\/strong><\/p>\n

I. The evolution of 72 Thaats(melakartas) as explained by Pandit Venkatamakhi<\/p>\n

II. the basic Ten Thatas of Hindusthani Music and their swaras, Pandit V.N. Bhatkhandeji\u2019s contribution in this
\nregard.<\/p>\n

III. The detailed study of the evolution of Raagas out of the Thaat ( a parantal scale)<\/p>\n

IV. A comparative study of the Samaprakrutik Ragas \u2013 an over view from first of fourth year\u2019s prescribed raagas.<\/p>\n

V. A detailed explanation of time theory of Raga.<\/p>\n

VI. The special chararacteristics of sandhi prakash Raag.<\/p>\n

 PART \u2013 B<\/strong><\/p>\n

I. Description of the prescribed ragas with their aroha, Avaroha and pakad.
\n1) Malkauns 2) Bhimpalasi 3) Jaunpuri 4) Sohani 5) Tilak Kamod 6) Bhairavi<\/p>\n

II. Description of the following Talas:
\n1) Tilwada 2) Adachoutal<\/p>\n

III. A comparative study of the Talas having equal number of matras.<\/p>\n

IV. Ability to write notation of vilambit and drut Khayals in
\nthe prescribed ragas.<\/p>\n

V. A brief life sketch of Pandit Vishnu Narayan Bhatkhandle and Pandit Vishnu Digambar Paluskar, Their contribution
\nto Hindustani Classical music.<\/p>\n

Level 4 \u2013 Practical<\/strong><\/p>\n

I. Vilambit and Drut Khayal with gayaki in each of the following ragas
\n1) Malkauns 2) Bhairav, 3) Bhimpalasi 4) Jaunpuri<\/p>\n

II. A drut khayal in each of the following ragas
\n1) Sohani 2) Tilak kamod 3) Bhairavi<\/p>\n

III. Lakshangeets in any two of the prescribed ragas<\/p>\n

IV. One Dhrupad and one Dhamar(with dugun) in any of the prescribed ragas<\/p>\n

V. Two Taranas in any of the prescribed ragas<\/p>\n

VI. One Bhajan be taught.<\/p>\n

VII. Description of the following Ragas.
\n1) Malkauns 2) Bhairav 3) Bhimplasi 4) Jaunpuri 5) Sohani 6) Tilak kamod 7) Bhairavi<\/p>\n

VIII. Recitation of Bols and Thekas of Tilwada and Adachoutal<\/p>\n

IX. A thorough revision of all the Ragas and Talas learnt during the four years<\/p>\n

For more details contact: support@sampada.siliconandhra.org<\/p>\n","protected":false},"excerpt":{"rendered":"

LEVEL 1 LEVEL 2 LEVEL 3 LEVEL 4 LEVEL 1 HINDUSTHANI MUSIC (VOCAL) SYLLABUS First Year \u2013 Level 1 \u2013 Theory PART […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2509","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/pages\/2509","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/comments?post=2509"}],"version-history":[{"count":24,"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/pages\/2509\/revisions"}],"predecessor-version":[{"id":2546,"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/pages\/2509\/revisions\/2546"}],"wp:attachment":[{"href":"https:\/\/sampadatv.org\/sampada2025\/wp-json\/wp\/v2\/media?parent=2509"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}