www.swaranjalimusicschool.com Syllabus for practical Vocal and Theory Exams (As Published in Sangeet Kala Vihaar: August 2012) Class 3: Praveshika Purna (3 rd exam) Syllabus This is an oral examination Total Points: 125, Minimum needed for passing: 44, Practical : 75, Theory : 50 Practical: a. Knowledge of notes: 1. Sing and recognise seven basic notes (Shuddha swar), Vikrut (Komal & Tivra or Soft & Sharp) notes. 2. Study Alankaars from previous exams in Drut Laya (fast tempo) 3. Learn following six Alankaar: Sing them in different Raagas as well as different laya (tempos) and practice singing one, two, three, four swaras (notes) in one beat while keeping maatraa (beats) by hand. (Note: Some of them are in different taals - Roopak, Jhaptaal, Ektaal, Teentaal) tala t ala t ala t ala tInatala Inatala Inatala Inatala Taal Teentaal 1 S G R S, R M G R... ...A D N A, N P D N s g r s, r m g r... ...a d n a, n p d n 2 S R S G, R G R M... ...A N A D, N D N P s r s g, r g r m... ...a n a d, n d n p 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Qaa iQaM iQaM Qaa Qaa iQaM iQaM Qaa Qaa itM itM ta ta iQaM iQaM Qaa Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa X 2 O 3 tala $pk tala $pk tala $pk tala $pk Taal Roopak 3 S R G R G S R, R G M G M R G ...... s r g r g s r, r g m g m r g ...... A N D N D A N, N D P D P N D a n d n d a n, n d p d p n d 1 2 3 4 5 6 7 1 2 3 4 5 6 7 tI tI naa QaI naa QaI naa tI tI naa QaI naa QaI naa Tee Tee Naa Dhee Naa Dhee Naa Tee Tee Naa Dhee Naa Dhee Naa XO 2 3 XO 2 3
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www.swaranjalimusicschool.com
Syllabus for practical Vocal and Theory Exams (As Published in Sangeet Kala Vihaar: August 2012)
Class 3: Praveshika Purna (3rd exam) Syllabus
This is an oral examination Total Points: 125, Minimum needed for passing: 44, Practical : 75, Theory : 50
Practical: a. Knowledge of notes: 1. Sing and recognise seven basic notes (Shuddha swar), Vikrut (Komal & Tivra or Soft & Sharp) notes. 2. Study Alankaars from previous exams in Drut Laya (fast tempo)
3. Learn following six Alankaar: Sing them in different Raagas as well as different laya (tempos) and practice
singing one, two, three, four swaras (notes) in one beat while keeping maatraa (beats) by hand. (Note: Some of them are in different taals - Roopak, Jhaptaal, Ektaal, Teentaal)
ttttala tala tala tala tInatalaInatalaInatalaInatala Taal Teentaal
1 S G R S, R M G
R... ...A D N A, N P D N
s g r s, r m g r... ...a d n a, n p d n
2 S R S G, R G R M... ...A N A D, N D N P s r s g, r g r m... ...a n a d, n d n p 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Qaa iQaM iQaM Qaa Qaa iQaM iQaM Qaa Qaa itM itM ta ta iQaM iQaM Qaa Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa
X 2 O 3
tala $pktala $pktala $pktala $pk Taal Roopak 3 S R G R G S R, R G M G M R G ...... s r g r g s r, r g m g m r g ......
A N D N D A N, N D P D P N D a n d n d a n, n d p d p n d
1 2 3 4 5 6 7 1 2 3 4 5 6 7 tI tI naa QaI naa QaI naa tI tI naa QaI naa QaI naa Tee Tee Naa Dhee Naa Dhee Naa Tee Tee Naa Dhee Naa Dhee Naa
XO 2 3 XO 2 3
tala Japtalatala Japtalatala Japtalatala Japtala Taal Jhaptaal 4 S R G R S, R G M G R......A N D N A, N D P D N s r g r s, r g m g r......a n d n a, n d p d n
1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10
QaI naa QaI QaI naa tI naa QaI QaI naa QaI naa QaI QaI naa tI naa QaI QaI naa Dhee Naa Dhee Dhee Naa Tee Naa Dhee Dhee Naa Dhee Naa Dhee Dhee Naa Tee Naa Dhee Dhee Naa
X 2 O 3 X 2 O 3
ttttala tala tala tala tInatalaInatalaInatalaInatala Taal Teentaal 5 S M G R, R P M G... ...A P D N, N M P D s m g r, r p m g... ...a p d n, n m p d
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Qaa iQaM iQaM Qaa Qaa iQaM iQaM Qaa Qaa itM itM ta ta iQaM iQaM Qaa Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa
X 2 O 3
tala ektalatala ektalatala ektalatala ektala Taal Ektaal 6 S R G R G -, R G M G M - ..... s r g r g -, r g m g m - .....
A N D N D -, N D P D P -
a n d n d -, n d p d p -
1 2 3 4 5 6 7 8 9 10 11 12
iQana iQana Qaagao tRk tU naa k <aa Qaagao tRk iQana naa Dhin Dhin Dhaage Truk Too Naa Kat Taa Dhaage Truk Dhin Naa
X O 2 O 3 4
Alankaar in Raag Alhaiya Bilaaval 1. SGRS,RMGR,GPMG,MDPM,PNDP,DAND,NEAN,AHEA
4. Knowledge of Raagas: 1. Candidates are expected to know how to sing Raagas from previous exams. For this exam, also learn to sing Bada Khyaal in Raag Yaman and Bhoopaalee. Expansion is not expected. 2. Study following Raagas:
Bhairav, Alhaiyaa Bilaaval, Kedaar, Baageshree, Bihaag, Malkauns, Khamaaj 3. For all these Ragas, sing Aaroha, Avaroha, Pakad (main part), introductory aalaap, a bandish in medium tempo and five aalaaps and five taans. Sing each Raag for seven minutes. 4. Learn to sing six more compositions from ragas above:
One Dhamaar, one Taraanaa, one lakshangeet, one Sargam geet and one bandish each in Taal Jhaptaal and Taal Roopak.
5. Learn to sing the Mandal Prarthana ‘Jaya Jagadisha Hare’ and one Bhajan or one folk song. 6. Recognise Raag by listening to aalaap.
Praveshikaa Poorna Exam: Information about seven Raagaas.
Re and Dha are soft (Komal), All other notes are pure Type: Sampurna , Time: First prahar of day
Aaroha s gr g m p nd n a
Avaroha a n nd p m g r s
Main part g m nd nd p, g m gr gr s Pakad
Raag : Alhaiya Bilaaval Thaat : Bilaaval
Both Nishads are used. All other notes are pure Madhyam is omitted in Aaroha. Type: Shadav Sampurna
Vaadi: Dhaivat (d) Saunvaadi: Gandhar (g)
Time: First prahar of morning |
Aaroha s r g p nd n s
|
Avaroha s n d p d b d p m g m mr, g p m g r s
Main Part g r g p, m g mr s
Raag : Kedaar Thaat: Kalyaan, This raag uses two Nishads and two Madhyams, Gandhaar is omitted. Rishabh omitted in Aaroha, Type: Odav Sampurna , Vaadi: Ma Samvaadi: Sa, Time : First Prahar of the night,
Aaroha s r s m, m p d n a
Avaroha a n d p, k p d n d p m, mr s
Main part s m, m p, d k p m, mr s
z c
Raag : Baageshree
Thaat: Kaafee f,b soft, Pancham (Pa) ommitted in Aaroha, Type : Shaadav Sampurna,
Vaadee: Madhyam (m), Saunvaadee: Shadja (s) Time: Night
. |
Aaroha b s f m d b s |
Avaroha s b d m, p d, m f r m, f r s C . .
Main part d b s m, f r m f r s
Raag : Bihaag Thaat: Bilaaval, uses Two Madhyams, Re Dha ommitted in
Aaroha, Other notes are pure, Type: Odav Sampoorna Vaadi: Gandhaar Samvaadi: Nishaad
Time : Second prahar of night
Aaroha b s g m p n a
Avaroha a n d p k g m g, r b s z c
Main part b s g m p, lg m g, r b s z c
Raag : Malkauns
Thaat: Bhairavee, f,a and b are soft
r and p are omitted, Type: Odav Odav,
Vaadi: m Saunvaadi: s
Time : Last prahar of night
. |
Aaroha b s mf m ba b s
|
Avaroha s b a m mf s . .
Main Part a b s m mf, s mf, m f s
Raag : Khamaaj
Thaat : Khamaaj , Both Nishads are used, Re is omitted in Aaroha, All other notes are pure Type: Shaadav Sampurna,
Vaadi: Gandhaar (Ga) Samvaadi: Nishaad (Ni) Time: Evening or night
Aaroha s gm pd n a
zc zc Avaroha a n d p m g r s
Main part gm pd nd p d g m g
Praveshika Poorna Exam: Information about Seven Raagas
AlaMkar (plaTa) Alankaar (Palataa) Arrangement of notes in a pattern
raga Raag
Combination of notes with following features - * Notes ( swaras) - There must be atleast 5 notes or a maximum of 7 notes (swaras) in a Raag. * Aaroh & Avaroh - Every Raag must have an “Aaroh” - ascending notes & an “Avroh” - descending movement of notes. * Vadi & Samvadi - Every raag must have “Vaadi” - most prominent & dominating note and “Samvadi” note - note that complement the dominating note. * Melodious, entertaining - A raag must be pleasant sounding and must be able to enchant the listener. * Key Note - The key not can never be missing in a Raag - ie, Sa or “Shadaj”
KalaI , kala Khaali, Kaal First beat after half cycle of Taal
dugauna Dugun Double tempo
zoka Thekaa ‘Bol’s or compositions for a Tabla. Taal is an abstract form of Theka. Taal does not change
but a taal can have more than one Theka.
Aavat-na Aavartan Cycle
North Indian Classical Music
South Indian Classical Music
(Karnaatak Music)
1
Practiced in northern part of India: States of Bangaal, Aasaam, Uttar Pradesh, Panjab,
Maharashtra, Gujaraat, Madhyapradesh, Rajasthaan etc.
Practiced in Southern part of India:
States of Tamilnaadu, Karnaatak, Aandhra Pradesh, Kerala etc.
Similarities
2
Ancient reference books are same.
3
Both styles use twelve notes, twenty two ‘shruti’.
4
Aalaap style of singing is accepted.
5
Compositions are performed with aalaap and taan
Differences
6
12 notes have different names and frequencies
12 notes have different names and frequencies
7
10 ‘Thaat’ or ‘Mel’
72 ‘Thaat’ or ‘Mel’
8
Compositions use following languages:
Braj, Bhojpuri, Farsi, Panjabi, Rajasthani
Compositions use following languages: Kannada, Telugu, Tamil, etc.
9
Different taals are used
Different taals are used
10
Enunciation of notes and style of singing is different
Enunciation of notes and style of singing is different
11
Names of Raagas may be same but their characters
are different
Names of Raagas may be same but their characters are different
12
Basic notes octave is considered as belonging to
‘Bilaaval Thaat’
An octave with basic notes is called as ‘Kanakaangi’ or ‘Mukhaaree’ ‘Mel’.
13
Composition types:
Sargam, Lakshangeet, Khyaal, Dhrupad, Dhamaar, Tappa, Taraanaa, Thumree, Horee Etc.
Composition types: Pallavee, Varnam, Keertanam, Padam, Jaavlee etc.
14 Generally speaking, two versions of same notes are
not used in succession. Example:
rr, gg, dd
Two versions of same notes are often used in succession. Example:
rr, gg, dd
naad Naad A pleasant, steady sound with fixed frequency, which
is useful in creating music is called ‘Naad’.
naadkI tIna ivaSaoYataeM :
Three properties of Naad:
Naad’s three properties:
1111. }^Mcaa naIcaapna. }^Mcaa naIcaapna. }^Mcaa naIcaapna. }^Mcaa naIcaapna 1. Uncha neechapan 1. High and Low Naad
1. High and Low
Depends on frequency: count per second Higher frequency indicates higher Swar or Note
Example: In a given octave, Madhyam swar is lower than Dhaivat swar since Madhyam’s frequency is
lower than Dhaivat’s frequency.
2. CaoTa baDapna2. CaoTa baDapna2. CaoTa baDapna2. CaoTa baDapna 2. Cchota badaapan 2. Small and Big Naad
2. Small and big
For a given Swar or note, even though frequency is same, amplitude (volume) may change and Naad will
be big or small accordingly Example:
Singing same swar loudly (big naad) or softly (small naad)
3. jaatI Aqavaa gauna3. jaatI Aqavaa gauna3. jaatI Aqavaa gauna3. jaatI Aqavaa gauna 3. Jaati and Gun
3. Type and Character of Naad
3. Type and character
Scientists think each Naad generates secondary Naads with it. They are called ‘Supporting Naads’. You cannot hear them distinctly. The number of
supporting naads is different for each instrument or singer. That is why each instrument or singer ‘sounds’ different. You can recognize each instrument or singer
by ear, with your eyes closed. This is possible because each Naad has its own ‘Jaati or Gun’.
An artist uses the notes in four different ways while performing. Four basic ways (Varna) of presenting
notes are: Sthayee, Aarohi, Avarohi, Sanchaaree
Sthayee Varna refers to halting at a single note:
Example: ssss, gggg, pp etc.
Aarohi Varna is an ascending arrangement of notes.
Example: srgm, rgmp, sr, rg etc.
Avarohi Varna is a descending arrangement of notes
Example: andp,ndpm,np,mr etc.
Sanchaari Varna is a mixed (ascending and descending) arrangement of notes
Example: sgrpmdp,nda,apdmg etc.
gaIt ko caagaIt ko caagaIt ko caagaIt ko caar Avayavar Avayavar Avayavar Avayava sqaayaI AMtra saMcaarI AaBaaogasqaayaI AMtra saMcaarI AaBaaogasqaayaI AMtra saMcaarI AaBaaogasqaayaI AMtra saMcaarI AaBaaoga
Four ‘Avayav’ of a Geet Sthaayee, Antaraa, Sanchaaree, Aabhog
Four elements of a geet or composition: Four parts exist mostly in Dhrupad. Khyaals mostly use only two parts (Sthaayee and Antaraa) Sthaayee: First section of the composition. It is performed in lower or middle octave. Antaraa: Second section (stanza) of a composition. Performed in middle and higher octave. (Some people consider Sthayee as a question and Antaraa as an answer.) Sanchaaree: Third section (stanza) of a composition. Starts in middle octave and expands in lower and middle octave. Uses ‘Gamak’ (vibrating notes). Aabhog: Fourth section (stanza) of a composition. Uses characteristics of first three sections. Expands in middle and high octaves.
Dhrupad: Existed primarily before Khyaal became popular. The lyrics usually include God’s praise and some times season’s description. Singing is more forceful and hence Pakhaavaj players use Taals like Chautaal, Sooltaal, Teevraa etc. Dhrupad has four ‘Baani’s. Govarhaar, Daagur, Nohaar, Khandahaar Baani. Dhamaar: Holi compositions composed in Taal Dhamaar are called ‘Dhamaar’. Dhamaar has fourteen beats. Since lyrics are mostly related to ‘Holi’ festival, it consists of ‘Raadhaa- Krishna’ and ‘Krishna – Gopi’ ‘Raas leelaa’ descriptions. Dhrupad and Dhamaar have similar singing styles and use ‘Braj’ language. Like Dhrupad, Dhamaar also uses single, double, triple, quadruple and odd tempos (Layakaaree). Sometimes ‘Boltaan’ is also used in ‘Layakaaree’. Khyaal: This is a word from ‘Farsi’ language. It means a thought or an idea. Khyaal is used to perform a raag in a full form. Badaa Khyaal: Khyaal singing started around 15
th century in Mugal king Muhammadshah Rangeele’s court. Two
courtiers brothers Sadaarang and Adaarang composed many Khyaals although they were mostly Dhrupad singers. Gwalior gharaanaa singers Haddoo Kahn and Hassoo Khaan made Khyaal singing popular. Khyaal uses ‘Vilambit’ or slow tempo. Composition consists of Sthayee and Antaraa. Slow tempo is suitable for serious, sombre, profound raagaas. Artists use Aalaap, Taan, Boltaan, Khatkaa, Murkee, Alankaar, Kanaswar, Meend to sing a Khyaal and hence it sounds beautiful. Cchotaa Khyaal (Drut Khyaal or Fast Tempo Khyaal): It is considered that Ameer Khusro started singing Cchotaa Khyaal, based on Kavvaalee in 14
th century. It has Sthaayee and Antaraa. Just as Badaa Khyaal, Cchotaa Khyaal also
has 1. descriptions of Krishnaleelaa, seasons, longing, romance and devotion 2. Inclusion of aalaap, taan, khatkaa, murkee, meend, alankaar, boltaan, bolaalaap, sagam. For percussion, it utilizes Drut Ektaal, Tritaal, Jhaptaal, Roopak.
Bhajan: Devotional or spiritual song often praising god. Devotional songs written in pure Devnaagari language
and sung predominantly in Taals of 8 beats are known as Bhajans. This Taal is so typical that it is known
as Bhajan Theka. Bhajans can be composed in pure Raags or in variations or combinations of Raags.
Contemporary Bhajans are sung in almost all Taals including Keharva, Dadra, Roopak, Jhaptaal, Ektaal,
Deepchandi and Teentaal.
Lakshan Geet: A descriptive song listing the properties of a Raag, such as its Vaadi, Samvadi swar, Jaati,
Recital time etc., composed using the same Raag that it describes is called Lakshangeet of that Raag.
Sargam Geet: A composition comprising Swar (notes) of a Raag and bound in a Taal is called Sargam-
Geet. Lyrics are absent and the chief objective is to become familiar with the notes of a Raag.
gaayanaacaayagaayanaacaayagaayanaacaayagaayanaacaaya-- -- pMiDt ivaYNau idgaMbar plausakr jaI pMiDt ivaYNau idgaMbar plausakr jaI pMiDt ivaYNau idgaMbar plausakr jaI pMiDt ivaYNau idgaMbar plausakr jaI kI jaIvanaI kI jaIvanaI kI jaIvanaI kI jaIvanaI : Biography of ‘Gaayanaacharya Pandit Vishnu Digambar Paluskar’
Pandit Vishnu Digambar Paluskar was born on 18th August, 1872 in a town called Kurundvad in a state of
Maharashtra in India. In 1887, there was a ‘Datta Jayanti’ (Birthday of Lord Dattaguru) festival in Kurundvad. During the celebrations, because of a fire cracker accident, little Vishnu’s eyes were damaged. His father took him to Gaayan Maharshi Pandit Balkrushnabua Ichalkaranjikar from Gwalior gharaanaa (tradition), who was a court singer in Miraj kingdom. At his Guru’s place, Vishnu Digambar Paluskar studied music in traditional manner for nine years. With his powerful voice and tireless work, Vishnu Digambar Paluskar acquired Balkrushnabua’s singing style which was based on wonderful taans.
In those days, musicians did not receive proper respect in society. There were several reasons for this. Music was confined to kings’ courts or establishments of ill repute. Kings used to organize music concerts, hence everything depended on the king’s and his courtiers’ whims. This caused difficulties for the musicians while performing and teaching. Vishnu Digambar Paluskar was determined to improve the status of music and musicians.
In 1896, he accepted this challenge and left Miraj. Making classical music accessible to everyone, including
ordinary people, was his biggest gift to society. He had great confidence in his abilities. First he became a great singer and performer. Several kings asked
him to become a court singer. But he respectfully declined since his strong wish was to make it easy for everyone to study music properly. He went to a town of Lahour, which was in Panjab at that time (now it is in Pakistan). Vishnu Digambar Paluskar established ‘Gandharva Mahavidyalaya’ in Lahour on 5
th May, 1901. He earned funds from his
performances and provided for students’ living expenses at this ‘Gandharva Mahavidyalaya’. In 1908 he started another branch on ‘Gandharva Mahavidyalaya’ in Mumbai. More branches were also established in Nagpur and Pune. He worked tirelessly until his death on 21
st August, 1931.
In his 59 years of life, Vishnu Digambar Paluskar ji not only succeded in acquiring respect for music and
musicians in society, but along with vocal, instrumental music and dance; he taught his students proper discipline, work ethic, gentlemanly behavior, clean and addiction free life style. He constructed ‘Swaralipi’ for writing music and opened a printing shop to publish his numerous books. He also started a musical instrument making workshop and taught all his students how to repair the instruments. He wrote over 60 books about music and physical exercise. He edited a magazine called “Sangeetaamrut Pravaah”, wrote books like Sangeet Baal Prakaash, Baal Both (5 volumes), Raag Pravesh (19 Volumes), Mahilaa Sangeet.
His prominent students were: Pandit Vinayakrao Patwardhan, Pandit Omkarnaath Thaakur, Pandit
Narayanrao Vyaas, Pandit Shankarrao Vyaas, Pandit Vaamanrao Paadhye and Pandit Vishnudas Shiraalee. In order to make it comfortable for ladies and children, he adopted lyrics from saints Surdaas, Kabeerdaas,
Tulseedaas etc. for the classical compositions. He was a great patriot and performed in many national convetions with his students.
(As Published in Sangeet Kala Vihaar: August 2012)
