Famous bhajan on Tilak Kamod.

Pakad of Tilak Kamod- Pa(lower octave) Ni Sa Re Ga Sa,Sa Re Ga Sa Ni,Re Ma Pa Dh Ma Pa Sa(higher octave).

This Bhajan clearly shows the characteristics of Tilak Kamod.

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Gaud Sarang.

Gaud Sarang is a daytime raaga,but gives effect of night melodies.The overall impact is identical to that in Raag Kedar or Raag Bihaag (they both are night raagas).Gaud Sarang has a Vakr build.Shuddha Madhyam is a prominent note but not a resting note.Resting note of the raaga are Gandhar and Dhaivat.Teevr Madhyam is Vakr.Teevr Madhyam is used with Pancham like “Pa Ma(teevr)Pa”.The basic identity of the the raaga is known by “Ga Re Ma Ga”.

That-Kalyan.

Vadi-Gandhar.

Samvadi-Dhaivat.

Time-3rd phase of day.

Jati-Sampoorna–Sampoorna Vakr.

Aaroh-Sa Ga Re Ma Ga Pa Ma Dh Pa Ni Dh Sa’.

Avroh-Sa’Dh Ni Pa Ma(teevr)Pa Ga Re Ma Ga Pa Re Sa.

Pakad-Sa Ga Re Ma Ga,Pa Re Sa.

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Raag Hameer.

Raag Hameer is derived from Kalyan That.Both the Madhyams are used in this raag.It is a Veer-Rasa (ie it gives us feeling of enthusiasm and courage of warriors).In the Aarohan(ie ascending swars)all Shudh swars are used and Panchan is forbidden(Vajra).In Avrohan ie descending order both the Madhayams are used Teevr as well as Shudh.At times komal Nishad is also used as in “Dh Ni Pa”during the descent.Swars Pa Ga Ma Re Sa,makes a dominant feature of descent.A special characteristc feature of this raag is the way Dhaivat is sung with a meend or touch of upper Nishad.It is an Uttarang Pradhan Raag which can be expanded in Madhya and Taar saptaks.

Aaroh-Sa Ga Ma Dh Ni Sa’.

Avroh-Sa’Ni Dh Pa,Ma(teevr)Pa,Ga Ma Re Sa.

Vadi -Pancham(Pa).

Samvadi-Shadaj(Sa).

Time-2nd Phase of night.

Jati-Audav-Sampoorna.

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Raag Kamod.

Raag Kamod comes from Kalyan that.It has shadows of  Malhar,Hameer,Kalyan with a glimpse of Kedar and Chhayanat.Both the Madhyams are used in this raag.Teevr Madhyam is used in glimpse with Pancham in Aarohan(upward series).Gandhar is Vakr(just touched ) in Avrohan and Nishad is less used.The use of Re Pa together clarifies the raag.Vadi swar of this raag is Pancham and Samvadi swar is Rishabh.Jati is Vakr-Sampoorna.

Aaroh-Sa Re Pa Ma(teevr)Pa Dh Pa Sa’.

Avroh-Sa’ Ni Dh Pa Ga Ma Pa Ga Ma Re Sa.

Pakad-Re Pa Ga Ma Pa Ga Ma Re Sa.

Jati-Vakr-Sampoorna.

Vadi-Pa.

Samvadi-Re.

Time-2nd Phase night .

Mukta Aalap-Sa Re Sa.Dh(lower octave) Pa(lower octave) Dh(low)Pa(low)Pa(low)Sa,Sa Re Sa.Sa Re Pa,Ga Ma Pa,Ga Ma Re Sa,Ma Re Sa Pa Ga Ma Re Sa,Re Sa,Re Pa ,Dh Dh Pa,Ma(teevr)Pa,Ga Ma Dh Pa,Ga Ma Pa,Ma Re Sa.

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Praveshika Pratham.

Total Marks:75.

Pass Marks:26.

Practical:60,Theory:15.No written Exam.

Raagas:Yaman,Kafi,Khamaaj,Bhimpalasi,Baageshri,Bhoop,Des,Durga.

Students should well versed with Aarohan/Avrohan,Pakad,Prarambhik Aalap/Swar elaboration of all Raagas.

One bandish of each raag should be known,

One bandish with Aalap,Swar vistaar,Taan of any 6 raagas.

One bandish/swar vistaar in Jhaptaal and Rupak.

Two Sargam geet and Lakshan geet.

One dhrupad and Bhajan/Dhoon.

“Vande Mataram”,”Jana Gana”to sing/play.

Taal: Including the taals of Prarambhik,Teentaal,Ektaal,Jhaptaal.

Aalankar:

1)SaRe,ReGa,GaMa,………..Sa’Ni,NiDh,DhPa,………..

2)SaReSa,ReGaRe,GaMaGa,………………………Sa’NiSa’,NiDhNi,DhPaDh,………(in Dadra).

3)SaReGaSaReGaMa,ReGaMaReGaMaPa,……………..Sa’NiDhSa’NiDhPa,………..(in Rupak).

4)SaGaReSa,ReMaGaRe,……………………………..Sa’DhNiSa’,NiPaDhNi,………….(in Teentaal).

5)SaMa,RePa,GaDh,………Sa’Pa,NiMa,DhGa………………….

Definations:

Sangeet,Dhwani,Naad,Swar,Saptak,Mel,Aalankar(palta),Raag,Jati,Vadi,Samvadi,Pakad,Aalap,Taan,Swarmalika(sargam geet),Lakshan geet,Sthayi,Antara,Lay,Matra,Taal,Sam,Khaali,Dugun,Theka,Varjit Swar,Aavartan,examples of raagas.

Students should also know the syllabus of Prarambhik.

 

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Prarambhik Syllabus(Vocal&Instrumental).

Total Marks : 50.

Pass Marks :18.

Practical :40,Theory:10.No written Exam.

Raagas:Durga,Kafi,Khamaj,Bhimpalasi,Baageshri,Bhoop,Des.

Students should be well versed by one bandish including Aarohan-Avrohan,with Pakad.They should have the capability to recognize and differentiate between raags.

For Theory students should know how to define a raag starting with the That it belongs to ,Vadi Samwadi Swar,shudh swar,Varj swar,komal or teevr, Jati ,timing to sing,aarohan -avrohan .

Taal:Kehrawa,Dadra,Tritaal.

Students should be able to explain given taal.They should be able to explain the taals in hand by showing taali n khaali.Madhya Ley of Tritaal should also be known.

Aalankar:

1)SaReGaMaPaDhNiSa’.

2)SaReGa,ReGaMa,GaMaPa,………………………,Sa’NiDh,NiDhPa,……

3)SaReGaMa,ReGaMaPa,GaMaPaDh,……………..,Sa’NiDhPa,NiDhPaMa,…………..

4)SaReSaReGa,ReGaReGaMa,………………………..Sa’NiSa’NiDh,NiDhNiDhPa,……….

5)SaGa,ReMa,GaPa,MaDh,…………………………….,Sa’Dh,NiPa,DhMa,……………………..

6)Sa,SaReSa,SaReGaReSa,………………………………,Sa’,Sa’NiSa’,Sa’NiDhNiSa’,………………

Swar Gyan:

Shudh-Komal swar,able to recoginize different forms of singing for eg:bhajan,ghazal,classical,etc.

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Western Music Workshop on 23rd October.

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