Kamal Music Center

Month: July 2010

Vocal Music Curriculum

Vocal Music
Level One:
  • Sangeet, Swars, Naad and Shrutis.
  • Aroh, Avroh, Saptak and Lay.
  • Alankars in Shrudh swars.
  • knowledge about Ragas and their rules.
  • Rag Bilawal, Alahiya Bilawal, Yaman and Bhopali.
  • One Dhrut khayal and one lakshan geet.
  • Swar maleeka in the above Ragas.
  • Knowledge about Tal Dadra, Keherva and Teen tal.
  • Knowledge about the notation system of Vishnu Narayan Bhadkhandae. (introduction)
Level Two:
  • Knowledge about Thats.
  • Review the notation system of Vishnu Narayan Bhadkhandae. (detailed)
  • Alankars in prescribed Ragas:Dhrut Khayal with Alap and Taanas.Raag Durga, Kafi, Khamaj, and Bhairav.Tal, Lay, Sum, Tali, Khali, Avartan and Matra.
  • Knowledge about Ekgun, Dogun, chaugan and Laykaris.
  • One Sargam geet and one Lakshan Geet in any prescribed Raagas.
  • Tal Dadra, Keharva, Teen Tal and Ek Tal.
  • Notation of Indian national anthem.
Level Three:
  • Naad (Ahat-Anahat), Shruti Swars and Vakra Swars.
  • Classification of Raagas, Varna (sthai, Antra, Sanchari, Abhog).
  • Vadi, Samvadi, Anuvadi, Vivadi and Varjit Swar.
  • Purvang and Uthrang.
  • Knowledge of different Style of singing.
  • Knowledge of the following concepts:Tal, Lay and its kinds (dugun, tugun, chaugan) and tal to be written in Pt. Vishnu Narayan Bhatkandhe Notation System.
  • Recognizing Raagas and Taalas given through some notes and Bolls.
  • Knowledge of Raagas with Madhya lay, Alap and Taanas.
  • Rag Desh, Bhageshwari, Bhimpalasi and Kafi.
  • Jhap Tal, Ek Tal, Chau Tal, Teen Tal with Daugan and Chaugan.
Level Four:
  • Review Levels One, two and Three.
  • Dhrupad, Sargam geet and Lakshan geet.
  • Khayal and its different kinds.
  • Recognizing Raagas and Taalas given through some notes and Bolls.
  • One Sargam geet and one Lakshan Geet in any prescribed Raagas.
  • Dhrut Khayal with Alap and Taanas.
  • Two Taranas in prescribed Raagas.
  • One baada Khayal in Vilambit Lay with proper Gayaki along with Alap and Taan.
  • Raag Bhrindavani Sarang, Malkonse, Bharav and Bhervi.
  • Rupak Tal, Ek Tal, Jhap Tal, Teen Tal, Keherva Tal and Dhadra Tal.
Level Five:
  • This year will include Dhrupad and Dhamar.
  • A brief description about the other styles of classical and light music (geet, gazal, bhajan and shabad).
  • The complete Bada Khayal, Chota Khayal, Tarana and prescribed Raagas.
  • Review of all Raagas of levels one, two, three and four.
  • One Thumri in Raag Bherav.
  • One Dhamar.
  • Raag: Mia Ki Todhi and Puriya Dhanashri.
  • Tal: Deepchandi, Sul Tal, Tilwada Tal and Jhumra Tal.
Level six:
  • This year also will include Dhrupad and Dhamar.
  • All theory review of all levels.
  • The history of Indian and Western notation systems, the advantages and disadvantages of adopting the Western notation system for Indian music, possibility of evolving a new system of notation for the purpose of maintaining the standard of Indian music.
  • Two Badha Khayal.
  • One Chota Khayal.
  • One Dhrupad.
  • One Dhamar.
  • One Tarana.
  • One Thumri.
  • Raag Joog, Lalit, Raag Durbari and Puriya Kalyan
  • All Tals from level one to five.

July 29, 2010     0 Comments

Tabla Curriculum

Level one
• All about tabla In detail, its history and as an instrument.
• The parts of a tabla, How it’s constructed etc.
• Knowledge of Tal, Matra, vhibag, Sum, tali, khali and avartan laye.
• Basic hand position and its finger techniques.
• Knowledge of words played on right tabla and left tabla. Production of such on the tabla
as dha, na, ta, dhin, tin, to, ghe, tirkit, kat,ke.
• Tal introduction of the tal dadra, keherva, teen tal, jhap tal with its theory knowledge.
Level two
• Laye practise.
• Vilambit, maday, drut timing and ekgun, dugan, and chagun practice.
• Two different kayadas with minimum four paltas in teen tal.
• Using simple words dha, Tita, ta, tin, ge, na, ke, dhin etc.
• Practice of kehrva Tal with different type of Kehrva, with vocal music and instrumental.
• Practice Tal dadra with different type of vocal and instrumental music.
• Introduction of ek Tal with practice of different Laye and Layekaris with vocal music.

Level three

• Different kaydas with minimum five paltas with words.
• Dhita, Gudigans, takkda, tirkit etc and solo practice of all kaydas and paltas together with all three levels.
• Jhaptal, three simple tukrae, three tihais, two kaydas with four paltae, variation of tihais and two mukhrae.
• Improve on the ability to recognise sum and mukrae with vocal and instrumental music.
• Notation of tukrae and tihai.

Level four
• Learn Roopak tal, ektal and deepchandi sultaal.
• Practise reciting the above tals in ekgun, dugan and chaugan layakaris with and without the tabla.
• Four advanced difficulty kayadas, mukhrae, tukrae, tihais and paltas in teen tal, chau tal, teevr tal and jhap tal.
• Solo practise with lehra.
• Improve on the ability to produce different bols on tabla recited by another person.
• Recognise different tals with vocal music and instrumental music.

Level five
• Playing solo in tal with lehra, thal teental, pashkara, kayada, rela, gat, tukdas and jhap tal etc.
• Learning how to tune the tabla.
• Composing with different tals.
• Accompanying with the tabla beside different type of singing. For example playing alongside Dhrupad, Dhamar, Tappa and thumree styles of singing.
• Accompanying with tabla beside different instrumental music. For example playing alongside masid khani gat, rajkhani gat and different dhuns of instrumental music.

Level six
• Solo with good proficiency in teen tal, jhap tal, eak tal and rupak tal.
• Accompanying with the tabla beside different vocal, instrumental and light music.
• Learning words like dhir dhir, gidha nage with different lay and lay karis.
• Composing with the bols above.
• More lays.

July 25, 2010     0 Comments

Rag Bhupali (Bhoopali)


Bhupali is a a very common raag.  Also called Bhoopali or Bhoopaali.

This rag is very ancient and is very popular.  Common songs based upon this rag include “Jyoti Kalash Chalke” or “Pankha Hoti To Ud Ati Re”.

The same notes of Bhupali are also used in rag Deshakar,

Bhupali is classified under Kalyan thaat; however, madhyam is totally absent.  Deshkar which has the same scale, yet Deshkar is classified under Bilawal that.  This means that the missing madhyam of Bhupali is tivra while the missing madhyam in Deshkar is shuddha

Thaat is                      Kalyan

Vadi sawar                 Gandhar         (GA)

Samvadi swar           Dhavat           (DHA)

Jatti                             Audav Audav

Samay(Time)            Raat Ka Pehla Paher (First part of Night)




July 10, 2010     0 Comments