[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1642492358755{background-color: #ffffff !important;}” z_index=””][vc_column][vc_empty_space height=”30px”][vc_single_image image=”207″ img_size=”full” alignment=”center” insomniacs_css_animation=””][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” el_id=”admission” css=”.vc_custom_1642492044881{padding-top: 30px !important;padding-bottom: 30px !important;background-color: #ffffff !important;}” z_index=””][vc_column width=”1\/2″][vc_column_text]<\/p>\n
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Practical <\/strong><\/p>\n Theory Oral <\/strong><\/p>\n [\/vc_column_text]\n\t\t\t<\/div>\n\t\t\t Eligibility<\/strong> : Complete Sangeet Prathama or equavellant, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assesment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\n\t\t\t<\/div><\/div><\/div><\/div> Practical <\/strong><\/p>\n Theory Oral <\/strong><\/p>\n [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd> Eligibility<\/strong> : Complete Sangeet Prathama or equavellant, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assesment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd>\r\n \t<\/dl>\r\n \r\n<\/div>\r\n\r\n<\/div>[\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n [\/vc_column_text] Practical<\/strong><\/p>\n 1. Swar Gyaan : To sing\/play and to identify of Seven Suddha and Five Vikrita Swar. To sing the Swaras with three saptaks at least Two. Theory ( Written and Oral )<\/strong><\/p>\n 1. What is called Sangeet : Two main System of Indian Sangeet. [\/vc_column_text]\n\t\t\t<\/div>\n\t\t\t Eligibility<\/strong> : Complete Sangeet Prathama or equavellant, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assesment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\n\t\t\t<\/div><\/div><\/div><\/div> Practical<\/strong><\/p>\n 1. Swar Gyaan : To sing\/play and to identify of Seven Suddha and Five Vikrita Swar. To sing the Swaras with three saptaks at least Two. Theory ( Written and Oral )<\/strong><\/p>\n 1. What is called Sangeet : Two main System of Indian Sangeet. [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd> Eligibility<\/strong> : Complete Sangeet Prathama or equavellant, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assesment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd>\r\n \t<\/dl>\r\n \r\n<\/div>\r\n\r\n<\/div>[\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1642492358755{background-color: #ffffff !important;}” z_index=””][vc_column][vc_empty_space height=”30px”][vc_single_image image=”207″ img_size=”full” alignment=”center” insomniacs_css_animation=””][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” el_id=”admission” css=”.vc_custom_1642492044881{padding-top: 30px !important;padding-bottom: 30px !important;background-color: #ffffff !important;}” z_index=””][vc_column width=”1\/2″][vc_column_text] TABLA \/ PAKHWAJ [\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text] Sitar, Flute, Harmonium [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n\n
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Sitar, Flute, Harmonium<\/strong><\/h4>\n
\n2. Knowledge of the Previous years Raags Yaman , Alhaiya Bilawal, Bhupali, Bhairav, Khamaj, Bihag, Bhairavi, Purvi and Todi, Bhimpalasi sing the Swaramalika and Bandish.
\n3. To sing\/play the Lakshan Geet, Swar Malika and Small Khayal of Raag Bageshree, Durga, Asavari, Tilak Kamod, Vrindavani Sarang, Kedar, Kafi, with two easy taan and sargam. Practice Taan, sargam Bol Taan.
\n4. To Sing a small Tarana ( For Vocal)
\n5. Laya Gyaan : Vilamvit, Madhya, Drut laya, with showing Taali 1:2, 1 2 3 4. When you sing Sa Re Ga Ma 4 swar show one matra four divisions. Knowing of the Division learning the lay stability with clap or Taali.
\n6. Swarmalika of Raag Bageshree, Durga, Asavari, Tilak Kamod, Vrindavani Sarang, Kedar, Desh
\n7. Practice of simple aalap of the above Raags. To sing with Tabla with praoper Lay.
\n8. . Learning of Taal : i) Ek Taal,, ii) Rupak, iii) Deep Chandi Taal, iv) Jhaap Taal. v) Tewra Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya
\n9. Identify the the Aalap of the above Raag.
\n10. How to tune Taanpura
\n11. Sugam Sangeet : One Semi Classical Song Thumri ( Dadra Taal ) of any one of the above Raag, One Bhajan ( Nanak, Kabeer, Meerabai ) Ghazal Song, One Folk Song, One Rajasthaani Folk Song,
\n12. Voice\/ instrumental Training of Third Step. Merukhand Exercise 1.2.3.4 ( Sa Re Ga Ma )
\n13. Write and read the simple Indian notation of the above mentioned Taal
\n14. One small Tappa
\n15. Raag Based Bollywood songs.
\n16 . Karaoke Singing\/playing Practice of Present Four Bollywood songs and Practice of previous year\u2019s karaoke song
\n17. Six Studio Session (vocal and Instrumental)
\n18. How to harmonize the voice. Knowledge of main western cord.
\n19. Practical session and demonstration of Studio : Distance of Microphone setting, Setting of Head phone, How to stand with proper during recording, Flexibility of body, What is the special tips one hr before recording How to set notation stand, Level of voice volume, what is single track, what is DT, etc.<\/p>\n
\n2. What is Dhwani ? Origin of Dhwani,
\n3. What is the Defination of Naad, Three types of Naad, Higher- Lower of Naad realted to the number of Andolan , Geet Abayab ( Sthayee, Antara, Sanchari and Abhog ) Kampan, Shruti, Swar, Prakrita Swar, Chal Swar, Achal Swar, Suddha Swar, Vikrita Swar, Symbols of the Swar, Varna ( , Sthayee, Aarohee, Avrohee, Sanchari ), Vadi, Samvadi, Anuvadi, Varjeet Swar, Lay , Matra, taali, Khali, Sam, Avartan, Alankar , Saptak ( Mandra, Madhya, Taar ) Symbols of different Saptak Swar, Pakad, Alap, Taan ( simple, Koot, Mishra, Bol Taan ), Kheyal, Sargam, Sthayee of Bandish, Antara, Taali, Khali, Theka, Avartan , Thay, Dwiguna. Janak Thaat, Jannya Raag, Nyyas Swar, Vakra Swar, Purvang- Uttarang of Samay- samay Saptak Relation of Vadi Swar with the time of the Raag, Purva- Uttar Raag, Dwigun, Tiguna, Chouguna, Meed, Kan or Touch and Sparsh Swar
\n4. Full Introduction of previous and present year\u2019s raag. Its Thaat, Swar Aroha, Avraha, Jaati, Pakad, Samay, Varjeet Swar, and habit to write a simple notation withsaral Aalap and Taan.
\n5. To have the ability to show the present and previos year\u2019s Taal, Theka, Matra, taali Khali sam, vibhag ( division )etc . and write a Taal Lipi structure with Dwiguna and Chowguna Laya.
\n6. Write a simple Swaralipi ( notation) of a Geet of Pt. Bhatkhande style.
\n7. Identify the Raag by the written Swaralipi.
\n8. Explanation and differenciete of the Similar Raags.
\n9. Brief Life story ( 100 words ) of Amir Khusru, Sadarang and Abdul Karim Khan.
\n10. What is Sugam Sangeet.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
\n2. Knowledge of the Previous years Raags Yaman , Alhaiya Bilawal, Bhupali, Bhairav, Khamaj, Bihag, Bhairavi, Purvi and Todi, Bhimpalasi sing the Swaramalika and Bandish.
\n3. To sing\/play the Lakshan Geet, Swar Malika and Small Khayal of Raag Bageshree, Durga, Asavari, Tilak Kamod, Vrindavani Sarang, Kedar, Kafi, with two easy taan and sargam. Practice Taan, sargam Bol Taan.
\n4. To Sing a small Tarana ( For Vocal)
\n5. Laya Gyaan : Vilamvit, Madhya, Drut laya, with showing Taali 1:2, 1 2 3 4. When you sing Sa Re Ga Ma 4 swar show one matra four divisions. Knowing of the Division learning the lay stability with clap or Taali.
\n6. Swarmalika of Raag Bageshree, Durga, Asavari, Tilak Kamod, Vrindavani Sarang, Kedar, Desh
\n7. Practice of simple aalap of the above Raags. To sing with Tabla with praoper Lay.
\n8. . Learning of Taal : i) Ek Taal,, ii) Rupak, iii) Deep Chandi Taal, iv) Jhaap Taal. v) Tewra Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya
\n9. Identify the the Aalap of the above Raag.
\n10. How to tune Taanpura
\n11. Sugam Sangeet : One Semi Classical Song Thumri ( Dadra Taal ) of any one of the above Raag, One Bhajan ( Nanak, Kabeer, Meerabai ) Ghazal Song, One Folk Song, One Rajasthaani Folk Song,
\n12. Voice\/ instrumental Training of Third Step. Merukhand Exercise 1.2.3.4 ( Sa Re Ga Ma )
\n13. Write and read the simple Indian notation of the above mentioned Taal
\n14. One small Tappa
\n15. Raag Based Bollywood songs.
\n16 . Karaoke Singing\/playing Practice of Present Four Bollywood songs and Practice of previous year\u2019s karaoke song
\n17. Six Studio Session (vocal and Instrumental)
\n18. How to harmonize the voice. Knowledge of main western cord.
\n19. Practical session and demonstration of Studio : Distance of Microphone setting, Setting of Head phone, How to stand with proper during recording, Flexibility of body, What is the special tips one hr before recording How to set notation stand, Level of voice volume, what is single track, what is DT, etc.<\/p>\n
\n2. What is Dhwani ? Origin of Dhwani,
\n3. What is the Defination of Naad, Three types of Naad, Higher- Lower of Naad realted to the number of Andolan , Geet Abayab ( Sthayee, Antara, Sanchari and Abhog ) Kampan, Shruti, Swar, Prakrita Swar, Chal Swar, Achal Swar, Suddha Swar, Vikrita Swar, Symbols of the Swar, Varna ( , Sthayee, Aarohee, Avrohee, Sanchari ), Vadi, Samvadi, Anuvadi, Varjeet Swar, Lay , Matra, taali, Khali, Sam, Avartan, Alankar , Saptak ( Mandra, Madhya, Taar ) Symbols of different Saptak Swar, Pakad, Alap, Taan ( simple, Koot, Mishra, Bol Taan ), Kheyal, Sargam, Sthayee of Bandish, Antara, Taali, Khali, Theka, Avartan , Thay, Dwiguna. Janak Thaat, Jannya Raag, Nyyas Swar, Vakra Swar, Purvang- Uttarang of Samay- samay Saptak Relation of Vadi Swar with the time of the Raag, Purva- Uttar Raag, Dwigun, Tiguna, Chouguna, Meed, Kan or Touch and Sparsh Swar
\n4. Full Introduction of previous and present year\u2019s raag. Its Thaat, Swar Aroha, Avraha, Jaati, Pakad, Samay, Varjeet Swar, and habit to write a simple notation withsaral Aalap and Taan.
\n5. To have the ability to show the present and previos year\u2019s Taal, Theka, Matra, taali Khali sam, vibhag ( division )etc . and write a Taal Lipi structure with Dwiguna and Chowguna Laya.
\n6. Write a simple Swaralipi ( notation) of a Geet of Pt. Bhatkhande style.
\n7. Identify the Raag by the written Swaralipi.
\n8. Explanation and differenciete of the Similar Raags.
\n9. Brief Life story ( 100 words ) of Amir Khusru, Sadarang and Abdul Karim Khan.
\n10. What is Sugam Sangeet.<\/p>\n<\/div>\n<\/div>\n<\/div>\n