Hindustani VocalHindustani classical music is the traditional music of northern regions of India. It may also be called North Indian classical music. Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent due to Persian or Islamic influences.
Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps (temperament) may also vary; however, with the gradual replacement of the sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic pattern called a raga characterized in part by specific ascent (aroha) and descent (avaroha) sequences, which may not be identical. Other characteristics include "king" (vadi) and "queen" (samavadi) notes and characteristic phrases (pakad). In addition each raga has its natural register (ambit) and portamento (meend) rules. Performances are usually marked by considerable improvisation within these norms. Ragas are particular ascending and descending of notes. The ragas must have at least five notes. Ragas are of three types, Ourab(Odav)- five notes, Sharab(shadav) - six notes, Sampurna - Seven notes. Most of the past and present musicians of Hindustani Classical music follow the Natya Sastra of Bharatmooni and the systems introduced by Bhatkhande. The musicians have to be very careful to avoid other ragas while playing or singing a raga. Ragas may originate from any source, including religious hymns, bhajans, folklore, folk tunes and music from outside the Indian subcontinent. *Text from Wikipedia |
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Classes
Beginner (Level 1)
This stage is for those who have never been initiated into the basics of classical music. The focus will be ear training and being able to identify and sing notes in their respective place in an octave. This is called 'swar-gyan'. The notes in a song being like alphabets in a word or sentence, this is the first stage. With various note exercises, combination note patterns and possibly basic 'sargam' compositions, students should be able to grasp the notations in any given musical phrase or song, rendering them capable of singing of their free will with awareness. The aspect of Rhythm or Laya will also be brought in.
Beginner II (Level 2-4)
This stage is when students have understood the octave and note placements reasonably well. While going on to do advanced exercises, voice culture training according to the Indian traditions also assumes focus. Also, singing of compositions in various ragas begins at this stage, although with the focus still on understanding the octave and voice culture. From the basic understanding of Laya, we go into the fundamentals of Tala..
Intermediate (Level 5-7)
Once 'swar-gyan' is achieved to a reasonable degree, the concept of Raga is explored. The application of notes in a manner that makes it a Raga will be taught. At least 2 Ragas per session will be taught with as many compositions as possible to enable better understanding of the Raga as well as various talas.
Advanced (Level 8-10)
The delineation of a Raga in its fullest a form of vilambit and drut khayal with the relevant gayaki is taught in this stage. Taan and other detailed stylized aspects that are important for concert performance will be taught.
This stage is for those who have never been initiated into the basics of classical music. The focus will be ear training and being able to identify and sing notes in their respective place in an octave. This is called 'swar-gyan'. The notes in a song being like alphabets in a word or sentence, this is the first stage. With various note exercises, combination note patterns and possibly basic 'sargam' compositions, students should be able to grasp the notations in any given musical phrase or song, rendering them capable of singing of their free will with awareness. The aspect of Rhythm or Laya will also be brought in.
Beginner II (Level 2-4)
This stage is when students have understood the octave and note placements reasonably well. While going on to do advanced exercises, voice culture training according to the Indian traditions also assumes focus. Also, singing of compositions in various ragas begins at this stage, although with the focus still on understanding the octave and voice culture. From the basic understanding of Laya, we go into the fundamentals of Tala..
Intermediate (Level 5-7)
Once 'swar-gyan' is achieved to a reasonable degree, the concept of Raga is explored. The application of notes in a manner that makes it a Raga will be taught. At least 2 Ragas per session will be taught with as many compositions as possible to enable better understanding of the Raga as well as various talas.
Advanced (Level 8-10)
The delineation of a Raga in its fullest a form of vilambit and drut khayal with the relevant gayaki is taught in this stage. Taan and other detailed stylized aspects that are important for concert performance will be taught.