[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 Music Diploma 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 Music Diploma 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<\/strong><\/p>\n 1. Knowledge of previous years all musical term and definition. Eligibility<\/strong> : Complete Music Diploma 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<\/strong><\/p>\n 1. Knowledge of previous years all musical term and definition. Eligibility<\/strong> : Complete Music Diploma 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 Raag Bageshree, Durga, Asavari, Tilak Kamod, Vrindavani Sarang, Kedar, with two easy taan and sargam. Practice Taan, sargam Bol Taan.
\n3. To sing\/play the Lakshan Geet, Swar Malika and Small Khayal ( Madhya Laya Drut ) of Raag Marwa, Kamod, Deshkaar, Shankara, Jaya Jaiwanti, Miyan ki Mallar, Bahar, Todi, Multani, Purvi, Lalit with two easy taan and sargam. Practice Any one of Vilamvit Khayal with Taan, sargam and Bol Taan.
\n4. To Sing\/play two Dhrupad and Dhamar Tarana of the above Raag ( Thaay, Dwiguna, Tiguna, Chowguna)
\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. Practice of simple aalap of the above Raags. To sing with Tabla with praoper Lay.
\n7. . Learning of Taal : i) Ada Chowtal ii) Sul Taal, iii) Jat Taal Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya. Knoledge to sing Thumri
\n8. Identify the the Aalap of the above Raag.
\n9. Rang Comparisons: Todi-Multani; Darbari-Adaana; Bhoopali-Deshkaar, Desh- Tilak Kamod
\n10. Knowledge to tune Taanpura and Tabla
\n11. Sugam Sangeet : One Semi Classical Song Thumri and Kajri of any one of the above Raag, One Classical Bhajan ( Nanak, Kabeer, Meerabai, Surdas, Tulsidas ) Ghazal \/ Sufi Song ( Traditional, popular, Rabindra Sangeet prescribed by Vishwa Bharati, One Folk Song, Punjabi or Haryanvi Folk.
\n12. Voice Training of Forth Step. Merukhand Exercise 1.2.3.4 ( Sa Re Ga Ma ), RPGO
\n13. Write and read the simple Indian notation of the above mentioned Taal
\n14. Tappa and Dhamar
\n15. Raag Based Bollywood songs. One Raag Defferent Bollywood Song
\n16 . Karaoke Singing Practice of Bollywood songs and Practice of previous years karaoke song
\n17. Music Performing Appreciations
\n18. Voice Harmony and Western cords
\n19. Practical singing session and demonstration of Studio : Special Session<\/p>\n
\n2. What is Anibdh geet ? The ancient types of Anibadh Geet.
\n3. Define Gayaki, Nayaki,
\n4. History of Shruti and Swar Vibhajan of 22 shruti-es , Shadaj Pancham bhav, Calculation of Andolan Sankhya as per the length of the Taar
\n5. Simple difference between South Indian and Hindustani Classical Music.
\n6. Write a simple Swaralipi ( notation) of a Geet of Pt. Bhatkhande style.
\n7. Identify the Present and previous years Raag by the written Swaralipi.
\n8. . Similarities and Dissimilarities : Todi-Multani; Darbari-Adaana; Bhoopali-Deshkaar, Desh- Tilak Kamod
\n9 . Brief Life story ( 100 words ) of Man Singh. Venkatmukhi, Bharat, Pt. Bhimsen Joshi, Lata Mangeshkar.[\/vc_column_text]\n\t\t\t<\/div>\n\t\t\t
\n2. Knowledge of the Previous years Raags Raag Bageshree, Durga, Asavari, Tilak Kamod, Vrindavani Sarang, Kedar, with two easy taan and sargam. Practice Taan, sargam Bol Taan.
\n3. To sing\/play the Lakshan Geet, Swar Malika and Small Khayal ( Madhya Laya Drut ) of Raag Marwa, Kamod, Deshkaar, Shankara, Jaya Jaiwanti, Miyan ki Mallar, Bahar, Todi, Multani, Purvi, Lalit with two easy taan and sargam. Practice Any one of Vilamvit Khayal with Taan, sargam and Bol Taan.
\n4. To Sing\/play two Dhrupad and Dhamar Tarana of the above Raag ( Thaay, Dwiguna, Tiguna, Chowguna)
\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. Practice of simple aalap of the above Raags. To sing with Tabla with praoper Lay.
\n7. . Learning of Taal : i) Ada Chowtal ii) Sul Taal, iii) Jat Taal Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya. Knoledge to sing Thumri
\n8. Identify the the Aalap of the above Raag.
\n9. Rang Comparisons: Todi-Multani; Darbari-Adaana; Bhoopali-Deshkaar, Desh- Tilak Kamod
\n10. Knowledge to tune Taanpura and Tabla
\n11. Sugam Sangeet : One Semi Classical Song Thumri and Kajri of any one of the above Raag, One Classical Bhajan ( Nanak, Kabeer, Meerabai, Surdas, Tulsidas ) Ghazal \/ Sufi Song ( Traditional, popular, Rabindra Sangeet prescribed by Vishwa Bharati, One Folk Song, Punjabi or Haryanvi Folk.
\n12. Voice Training of Forth Step. Merukhand Exercise 1.2.3.4 ( Sa Re Ga Ma ), RPGO
\n13. Write and read the simple Indian notation of the above mentioned Taal
\n14. Tappa and Dhamar
\n15. Raag Based Bollywood songs. One Raag Defferent Bollywood Song
\n16 . Karaoke Singing Practice of Bollywood songs and Practice of previous years karaoke song
\n17. Music Performing Appreciations
\n18. Voice Harmony and Western cords
\n19. Practical singing session and demonstration of Studio : Special Session<\/p>\n
\n2. What is Anibdh geet ? The ancient types of Anibadh Geet.
\n3. Define Gayaki, Nayaki,
\n4. History of Shruti and Swar Vibhajan of 22 shruti-es , Shadaj Pancham bhav, Calculation of Andolan Sankhya as per the length of the Taar
\n5. Simple difference between South Indian and Hindustani Classical Music.
\n6. Write a simple Swaralipi ( notation) of a Geet of Pt. Bhatkhande style.
\n7. Identify the Present and previous years Raag by the written Swaralipi.
\n8. . Similarities and Dissimilarities : Todi-Multani; Darbari-Adaana; Bhoopali-Deshkaar, Desh- Tilak Kamod
\n9 . Brief Life story ( 100 words ) of Man Singh. Venkatmukhi, Bharat, Pt. Bhimsen Joshi, Lata Mangeshkar.[\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd>