Online Hindi Singing Classes
Hindi Film Music
Sonu Nigam | Faculty Head
Preparatory
In this process students who have severe pitching (sur) issues are trained to produce musical notes correctly, sing rhythmically in Taal, and thus become eligible for the Intermediate Hindi Film Music Course.
The Intermediate Hindi Film Music Course trains the student to become a competent performer of film and popular music both on stage and in studio. Training is done in both Hindustani Classical music and Film Music.
Our online music academycovers styles, and singing and voice techniques of simple to complex fast songs and open voiced songs, simple and complex melodies and iconic hits. Voice and Performance Training are part of the process. Classical training covers training in swaras, paltas, scales, six ragas, drut khayal and swargeet, along with Voice Training.
Voice Training:
The curriculum is delivered in combination with Scientific Voice Development.Music teachers are trained in the concepts and principles of Frederick Husler, adapted to the needs of Indian Music by Ananth Vaidyanathan.
The human voice is naturally a singing voice, irrespective of musical talent. Musical tone and skills are innate potentials of the human voice. The voice is developed by activating it’s potential nature through simple songs and allowing it grow easily and naturally along a path of increasing musical complexities.
The Advanced Film Music Course is an intensive 48 session program that will enable a learner to achieve the skills of a competent, full-fledged film music playback singer or stage singer. Training in popular Ragas such as Khamaj, Sivaranjani, Pahadi, Kedar, Darbari will be provided with improvisational techniques and methods.
Intensive training, with voice and performance training in the styles and techniques of complex Film music, Popular Music and Fusion covers complex ghazal based melodies, complex classical film compositions, challenging songs etc.
Voice Training:
The curriculum is delivered in combination with Scientific Voice Development. Teachers are trained in the concepts and principles of Frederick Husler, adapted to the needs of Indian Music by Ananth Vaidyanathan.
The human voice is naturally a singing voice, irrespective of musical talent. Musical tone and skills are innate potentials of the human voice. The voice is developed by activating it’s potential nature through simple songs and allowing it grow easily and naturally along a path of increasing musical complexities.
Candidate who have an interest in film music and want to learn Hindi songs.
Candidates who have issues with pitching and rhythm
Candidate who have an interest in film music and want to learn Hindi songs.,Candidates who have issues with pitching and rhythm
Candidates should have either:
Basic command over sur and taal.
Natural ability to hold a tune.
Ability to pick up a simple song from recorded music without major errors in tune or rhythm.
General interest in film music.
Candidates should have either:,Basic command over sur and taal.,Natural ability to hold a tune.,Ability to pick up a simple song from recorded music without major errors in tune or rhythm.,General interest in film music.
The Candidate should have completed the Artium Hindi Film (Intermediate) Course or
Have the knowledge and skills of a Intermediate Hindi Film Music Course graduate (refer Learning Outcomes of Intermediate Hindi Film Music Course).
The Candidate should have completed the Artium Hindi Film (Intermediate) Course or,Have the knowledge and skills of a Intermediate Hindi Film Music Course graduate (refer Learning Outcomes of Intermediate Hindi Film Music Course).
session 1-12
- Aligning voice with swaras
- Learning basic swaras, swara patterns and exercises
- Simple talas
- Simple songs to enable application and practice of fundamental music sense
session 1-12
- Aligning voice with swaras
- Learning basic swaras, swara patterns and exercises
- Simple talas
- Simple songs to enable application and practice of fundamental music sense
session 1
- We are choosing Bilawal in the initial training because that is the shuddh or basic scale of both Hindustani & Western music. The mind needs a strong basic reference scale in order to recognize the 5 other notes as variations from these references. Therefore, intensifying the memory and aesthetic experience of Bilawal as a scale is critical.
- He/She gets a sense of the ascent-descent character of the notes canvas.
- He/She gets a sense of the relationship between notes at an octave’s interval – Madhya Sa and Taar Sa.
- He/She gets a sense of the way music is painted through different sequences of notes, groupings, and time differential patterns.
- He/She gets a sense of mirror imaging of patterns as ascent changes to descent.By practising these with external tala aids like a theka or keeping count in the hands by prescribedkriya patterns, the student gets to experience Tala concept and sub-concepts – regular tempo, cycle, the relationship between music units and cycle, the relationship of rhythm with numbers through Tala multiplication to achieve levels of speed, accents, simple cross rhythms etc.
session 2
- Sense of relationship between different pairs of notes.
- Sense of patterns through permutation. Jugglery / musical acrobatics.
- Progressive readiness in note location.
- Vocal enablement, promptness, efficiency, fitness.
session 3
- He or She gets a sense of notes jugglery, the ascent-descent relationship between different pairs of notes all this with a sense of particular Taal, here it is Jhaptal and Chanchar Taal.
session 4
- Songs are cognated, enjoyed, registered and reflected as enjoyable beautiful music. The enjoyment is necessary to access deep memory which will facilitate Swara intimacy, recognition and location. The ideal composition for this purpose is Swarageet.
session 5
- The essence of any genre is captured in the song forms. The easiest hindustani classical song forms that can convey the sense of raag music in the student is the chhota khayal or drut (fast) khayal. The swar geet, drut (fast) khayal, taraana, chaturang - all are structured more or less according to same construction principles, based on taals like teentaal & ektaal, the most popular being the teentaal.
session 6
- Popular film songs are already registered as tunes in the student’s mind. When the student learns the same songs in swaras, the mind is given the opportunity to relate the same tune with swaras which aids the development of swara intimacy.
session 7
- Bhupali has been selected as the first order scale as the student has already internalized the shuddh notes from Bilawal (Although, in terms of Raag Dharma, Bhoopali is the derivative of the Kalyan Scale).Sampurna, Shadav, Audav & Audav-Sampurna scales exist in popular music but, therefore the sense of these phenomena is existing in the listener which enables him/her to enjoy them. But, an untrained musician is aware that he/she has a sense of these scale types. The training process has to enable the students to relate the sense to conceptual knowledge and bring it to the level of skill.
session 8
- Teaching or learning bhairavi as the second sampurna scale after Bilawal, enables the student to get experientially acquainted with 4 additional notes, i,e, Komal Re, Komal Ga Komal Dha, Komal Ni.Bhairavi is an extremely appealing & popular scale in all light music genre thus the student is likely to have the experience of Bhairavi through music he/she has learned and enjoyed. This will enable him/her to relate the pedagogical process to his existing cognition and aesthetic impression.
session 9
- Refer Benefits of Swargeet From Session 4 & Bhairavi from Session 8
session 10
- Refer Benefits of Swargeet From Session 5
session 11
- It is critical to introduce the experience Kalyan scale or Yaman Raaga as early as possible in the pedagogical sequence.
- The introduction of Teevra Ma will complete the introduction to 12 chromatic notes.
- Yaman, like bhairavi is an extremely appealing and popular raaga across genre.
- The student is highly likely to have the experience of Yaman and will easily be able to benefit from the Pedagogical process.
session 12
- Refer Benefits of Khayal From Session 5
session 13
- Developing a sense of upper octave along with Swar identity intimacy (Semantic Enablement).
- Stretching vocal range.
session 14
- Developing a sense of lower octave along with Swar identity intimacy (Semantic Enablement).
- Stretching vocal range.
session 15
- Refer Benefits of Khayal From Session 5
session 16
- Malkauns is an Audav derivative of Bhairavi.
session 17
- Refer Info of Bhairavi from Session 8
session 18
- Refer Info of Yaman from Session 11
session 19
- These are ideally practised in Aakar. Note sequences in vowels require a ‘hold' to replace the consonant.A graphic ‘arc' or trajectory is manifested in note-to-note movement.
- While there can be many kinds of trajectories, they need to be tone friendly and enable mechanical dexterity development.
session 20
- Bhairav is traditionally considered the first raaga in many Hindustani gharanas and in Carnatic music(Raag Mayamalavagaula). The introduction of this Raag in the pedagogical process is essential.
session 21
- Kaafi is another very popular Scale extensively used in Semi Classical music.
session 22
- Bhimpalasi is a derivative of Kaafi. The student here gets an introduction to Audav Sampurna pattern.
session 23
- Refer Benefits of Khayal From Session 5
session 24
- Refer Benefits from Session 6
session 1
- We are choosing Bilawal in the initial training because that is the shuddh or basic scale of both Hindustani & Western music. The mind needs a strong basic reference scale in order to recognize the 5 other notes as variations from these references. Therefore, intensifying the memory and aesthetic experience of Bilawal as a scale is critical.
- He/She gets a sense of the ascent-descent character of the notes canvas.
- He/She gets a sense of the relationship between notes at an octave’s interval – Madhya Sa and Taar Sa.
- He/She gets a sense of the way music is painted through different sequences of notes, groupings, and time differential patterns.
- He/She gets a sense of mirror imaging of patterns as ascent changes to descent.By practising these with external tala aids like a theka or keeping count in the hands by prescribedkriya patterns, the student gets to experience Tala concept and sub-concepts – regular tempo, cycle, the relationship between music units and cycle, the relationship of rhythm with numbers through Tala multiplication to achieve levels of speed, accents, simple cross rhythms etc.
session 2
- Sense of relationship between different pairs of notes.
- Sense of patterns through permutation. Jugglery / musical acrobatics.
- Progressive readiness in note location.
- Vocal enablement, promptness, efficiency, fitness.
session 3
- He or She gets a sense of notes jugglery, the ascent-descent relationship between different pairs of notes all this with a sense of particular Taal, here it is Jhaptal and Chanchar Taal.
session 4
- Songs are cognated, enjoyed, registered and reflected as enjoyable beautiful music. The enjoyment is necessary to access deep memory which will facilitate Swara intimacy, recognition and location. The ideal composition for this purpose is Swarageet.
session 5
- The essence of any genre is captured in the song forms. The easiest hindustani classical song forms that can convey the sense of raag music in the student is the chhota khayal or drut (fast) khayal. The swar geet, drut (fast) khayal, taraana, chaturang - all are structured more or less according to same construction principles, based on taals like teentaal & ektaal, the most popular being the teentaal.
session 6
- Popular film songs are already registered as tunes in the student’s mind. When the student learns the same songs in swaras, the mind is given the opportunity to relate the same tune with swaras which aids the development of swara intimacy.
session 7
- Bhupali has been selected as the first order scale as the student has already internalized the shuddh notes from Bilawal (Although, in terms of Raag Dharma, Bhoopali is the derivative of the Kalyan Scale).Sampurna, Shadav, Audav & Audav-Sampurna scales exist in popular music but, therefore the sense of these phenomena is existing in the listener which enables him/her to enjoy them. But, an untrained musician is aware that he/she has a sense of these scale types. The training process has to enable the students to relate the sense to conceptual knowledge and bring it to the level of skill.
session 8
- Teaching or learning bhairavi as the second sampurna scale after Bilawal, enables the student to get experientially acquainted with 4 additional notes, i,e, Komal Re, Komal Ga Komal Dha, Komal Ni.Bhairavi is an extremely appealing & popular scale in all light music genre thus the student is likely to have the experience of Bhairavi through music he/she has learned and enjoyed. This will enable him/her to relate the pedagogical process to his existing cognition and aesthetic impression.
session 9
- Refer Benefits of Swargeet From Session 4 & Bhairavi from Session 8
session 10
- Refer Benefits of Swargeet From Session 5
session 11
- It is critical to introduce the experience Kalyan scale or Yaman Raaga as early as possible in the pedagogical sequence.
- The introduction of Teevra Ma will complete the introduction to 12 chromatic notes.
- Yaman, like bhairavi is an extremely appealing and popular raaga across genre.
- The student is highly likely to have the experience of Yaman and will easily be able to benefit from the Pedagogical process.
session 12
- Refer Benefits of Khayal From Session 5
session 13
- Developing a sense of upper octave along with Swar identity intimacy (Semantic Enablement).
- Stretching vocal range.
session 14
- Developing a sense of lower octave along with Swar identity intimacy (Semantic Enablement).
- Stretching vocal range.
session 15
- Refer Benefits of Khayal From Session 5
session 16
- Malkauns is an Audav derivative of Bhairavi.
session 17
- Refer Info of Bhairavi from Session 8
session 18
- Refer Info of Yaman from Session 11
session 19
- These are ideally practised in Aakar. Note sequences in vowels require a ‘hold' to replace the consonant.A graphic ‘arc' or trajectory is manifested in note-to-note movement.
- While there can be many kinds of trajectories, they need to be tone friendly and enable mechanical dexterity development.
session 20
- Bhairav is traditionally considered the first raaga in many Hindustani gharanas and in Carnatic music(Raag Mayamalavagaula). The introduction of this Raag in the pedagogical process is essential.
session 21
- Kaafi is another very popular Scale extensively used in Semi Classical music.
session 22
- Bhimpalasi is a derivative of Kaafi. The student here gets an introduction to Audav Sampurna pattern.
session 23
- Refer Benefits of Khayal From Session 5
session 24
- Refer Benefits from Session 6
session 1
- Raga Khamaj - Khamaj is an extremely popular and appealing scale across genres including Thumri, Dadra and Film Music.
- Raagaang swara patterns - Raagas are not defined traditionally by aroh - avroh but with concise alaaps which are outlined through the basic phrases of the Raaga. This basic outline along with minimal variations extending into a few basic taan patterns designed from raaga phrases all in swaras - facilitates the internalization of raga grammar and aesthetics in the form of an experiential nucleus which serves as the basis for future improvisational flights.
session 2
- Gat Bhav Thumri (Khamaj) - It is a composition of a Thumri genre structurally close to the Chhota Khayal it enables the easy experiential transition from the aesthetics of more classical khayal to the thumri genre. These aesthetics are more suitable for the student and exponents of Film music.
session 3
- Basic Bol Banav (Khamaj) - Bol Banav is the variation of short phrases of the composition and are considered by many trainers to be the first effective step from composition to improvisations.
session 4
- Raag Puriya Dhanashri (Raagang swar and Swargeet) it is a highly popular classical raaga that the film music student needs to be aquainted with
session 5
- Raag Puriya Dhanashri - Teentaal bandishit is a highly popular classical raaga that the film music student needs to be aquainted with
session 6
- Jhaptal bandish (Puriya Dhanashri) - it is a highly popular classical raaga that the film music student needs to be aquainted with
session 7
- Raag Kedar (Raagang swar and Swargeet) - Kedar is a highly popular phrase oriented raaga that is widely used in Popular genres. Phrase oriented raagas have the power to give the learner a sense of the phrase oriented character of the Indian Raaga system as against the Scalar Sense.
session 8
- Bandish In Raag Kedar - Kedar is a highly popular phrase oriented raaga that is widely used in Popular genres. Phrase oriented raagas have the power to give the learner a sense of the phrase oriented character of the Indian Raaga system as against the Scalar Sense.
session 9
- Raag kedar - Bandish (Gaikee) - Kedar is a highly popular phrase oriented raaga that is widely used in Popular genres. Phrase oriented raagas have the power to give the learner a sense of the phrase oriented character of the Indian Raaga system as against the Scalar Sense.
session 10
- Swar Exercises in Raag Ahir Bhairav - Ahir Bhairav is a Beautiful Morning Raaga of the Bhairav group. Extensively used in Film and Light music to convey Pathos and Soft Romance.
session 11
- Raag Ahir Bhairav(Swar Exercises) - Ahir Bhairav is a Beautiful Morning Raaga of the Bhairav group. Extensively used in Film and Light music to convey Pathos and Soft Romance.
session 12
- Raag Ahir Bhairav(Bandish) - Ahir Bhairav is a Beautiful Morning Raaga of the Bhairav group. Extensively used in Film and Light music to convey Pathos and Soft Romance.
session 13
- Raag Darbaari - Darbari is one of the most classical raagas of the hindustani system which interestingly is very amenable to Light music Film Music and Ghazal too
session 14
- Raag Darbaari(Raagang swar and Swargeet) - Darbari is one of the most classical raagas of the hindustani system which interestingly is very amenable to Light music Film Music and Ghazal too
session 15
- Raag Darbaari(Bandish Gaikee) - Darbari is one of the most classical raagas of the hindustani system which interestingly is very amenable to Light music Film Music and Ghazal too
session 16
- Raag Sohini - It is a very popular thumri angg raaga. the ethos and grammar of thumri and its improvisational methods are valuable pedagogy for the light music aspirants
session 17
- Raag Sohini(Bandish Thumri) - It is a very popular thumri angg raaga. the ethos and grammar of thumri and its improvisational methods are valuable pedagogy for the light music aspirants
session 18
- Raag Sohini(Raagang swar and Swargeet) - It is a very popular thumri angg raaga. the ethos and grammar of thumri and its improvisational methods are valuable pedagogy for the light music aspirants
session 19
- Raag Shivranjani (Raagang Swar and Swargeet) - Shivranjani, originally a Carnatic Raaga has fired creativity in North India across Light Music genres from Thumri & Dadra to Geet, Ghazal & Film Music. The Raga is highly expressive and versatile for emotions ranging from pathos & valour.
session 20
- Raag Mishra Shivranjani - Shivranjani, originally a Carnatic Raaga has fired creativity in North India across Light Music genres from Thumri & Dadra to Geet, Ghazal & Film Music. The Raga is highly expressive and versatile for emotions ranging from pathos & valour.
session 21
- Raag Mishra Shivranjani - Shivranjani, originally a Carnatic Raaga has fired creativity in North India across Light Music genres from Thumri & Dadra to Geet, Ghazal & Film Music. The Raga is highly expressive and versatile for emotions ranging from pathos & valour.
session 22
- Raag Desh (Raagang swar and Swargeet) - Desh is one of the most popular indian raga, well suited for light classical and seasonal compositions.one of the well-known versions of vande mataram has also been composed in raag desh
session 23
- Raag Desh Bandish(Ektaal) - Desh is one of the most popular indian raga, well suited for light classical and seasonal compositions.one of the well-known versions of vande mataram has also been composed in raag desh
session 24
- Raag Desh Bandish(Ektaal) - Desh is one of the most popular indian raga, well suited for light classical and seasonal compositions.one of the well-known versions of vande mataram has also been composed in raag desh
session 25
- Raag Bhairavi - Bhairavi is capable of creating an atmosphere of devotion, romance and pathos. Several film compositions can be found in Raag Bhairavi. The Famed Mile Surr Mera tumhaara has been composed in Raag Bhairavi as an ode to our collective idea of India as a Nation.
session 26
- Raag Bhairavi(Raagang swar and Swargeet) - Bhairavi is capable of creating an atmosphere of devotion, romance and pathos. Several film compositions can be found in Raag Bhairavi. The Famed Mile Surr Mera tumhaara has been composed in Raag Bhairavi as an ode to our collective idea of India as a Nation.
session 27
- Raag Bhairavi - Bhairavi is capable of creating an atmosphere of devotion, romance and pathos. Several film compositions can be found in Raag Bhairavi. The Famed Mile Surr Mera tumhaara has been composed in Raag Bhairavi as an ode to our collective idea of India as a Nation.
session 28
- Raagang Swar Exercises in Raag Kaushik dhwani / Bhinn Shadaj - Kaushik Dhwani is a classical Raga adapted very beautifully into Thumri. The Famed Yaad Piya Ki Aaye composed/Sung by Ustad Bade Ghulam Ali Khan sahab has been composed in Raag Kaushi
session 29
- Raagang Swar Exercises in Raag Kaushik dhwani(Raagang swar and Swargeet) - Kaushik Dhwani is a classical Raga adapted very beautifully into Thumri. The Famed Yaad Piya Ki Aaye composed/Sung by Ustad Bade Ghulam Ali Khan sahab has been composed in Raag Kaushi
session 30
- Raagang Swar Exercises in Raag Kaushik dhwani - Kaushik Dhwani is a classical Raga adapted very beautifully into Thumri. The Famed Yaad Piya Ki Aaye composed/Sung by Ustad Bade Ghulam Ali Khan sahab has been composed in Raag Kaushi
session 31
- Raag Bihag (Raagang swar swargeet) - Bihag is very traditional raga popular in both dhrupad and kayal.Its versatility in expressing both classism and Romanticism makes it amenable to Lighter Genres too
session 32
- Raag Bihag - Tarana - Bihag is very traditional raga popular in both dhrupad and kayal.Its versatility in expressing both classism and Romanticism makes it amenable to Lighter Genres too
session 33
- Raag Bihag - Tarana - Bihag is very traditional raga popular in both dhrupad and kayal.Its versatility in expressing both classism and Romanticism makes it amenable to Lighter Genres too
session 34
- Raag Hameer (Raagang swar and swargeet) - hameer is beautiful classical raaga that is heared less and less on stage today.In Film music it has been immortallized rafis madhuban mein radhika naache re
session 35
- Raag Hameer Bandish - hameer is beautiful classical raaga that is heared less and less on stage today.In Film music it has been immortallized rafis madhuban mein radhika naache re
session 36
- Raag Hameer Bandish - hameer is beautiful classical raaga that is heared less and less on stage today.In Film music it has been immortallized rafis madhuban mein radhika naache re
session 37
- Raag Pahadi(Raagang swar and swargeet) - Pahadi is originally a Folk Motif which can be found in every folk region of India. It has seen reverse integration into Thumri Dadra through traditional folk - classical forms like chaiti sawani jhoola etc.Naturally a great favourite of Film music directors
session 38
- Raag Pahadi Thumri Contd. - Pahadi is originally a Folk Motif which can be found in every folk region of India. It has seen reverse integration into Thumri Dadra through traditional folk - classical forms like chaiti sawani jhoola etc.Naturally a great favourite of Film music directors
session 39
- Raag Pahadi performance - Pahadi is originally a Folk Motif which can be found in every folk region of India. It has seen reverse integration into Thumri Dadra through traditional folk - classical forms like chaiti sawani jhoola etc.Naturally a great favourite of Film music directors
session 40
- Raag Bageshri (Raagang swar and swargeet) - Like Kedar, Bihag and Darbari, Bageshri too fits into the entire range of genres from Dhrupad to Light music
session 41
- Raag Bageshri (Raagang swar and swargeet) - Like Kedar, Bihag and Darbari, Bageshri too fits into the entire range of genres from Dhrupad to Light music
session 42
- Raag Bageshri (Raagang swar and swargeet) - Like Kedar, Bihag and Darbari, Bageshri too fits into the entire range of genres from Dhrupad to Light music
session 43
- Raag Kirwani (Raagang swar and swargeet) - kirwani is originally a carnatic raga corresponding to the harmonic minor scale of the western system.It is enatly highly melodious and colourful and fires the imagination of light music creativity.
session 44
- Raag Mishra Kirwani - kirwani is originally a carnatic raga corresponding to the harmonic minor scale of the western system.It is enatly highly melodious and colourful and fires the imagination of light music creativity.
session 45
- Kirwani Thumri Performance Contd. - kirwani is originally a carnatic raga corresponding to the harmonic minor scale of the western system.It is enatly highly melodious and colourful and fires the imagination of light music creativity.
session 46
- Raag Miyan ki Malhar(Raagang swar and Swargeet) - Like Darbari kanhada, miyan ki malhar, the emperor of the malhor group is a heavy and gamaka laden classical raga that interestingly lends itself to light music composition too
session 47
- Raag Miyan ki Malhar - Bandish - Like Darbari kanhada, miyan ki malhar, the emperor of the malhor group is a heavy and gamaka laden classical raga that interestingly lends itself to light music composition too
session 48
- Raag Miyan ki Malhar Performance Contd. - Like Darbari kanhada, miyan ki malhar, the emperor of the malhor group is a heavy and gamaka laden classical raga that interestingly lends itself to light music composition too
session 1
- Raga Khamaj - Khamaj is an extremely popular and appealing scale across genres including Thumri, Dadra and Film Music.
- Raagaang swara patterns - Raagas are not defined traditionally by aroh - avroh but with concise alaaps which are outlined through the basic phrases of the Raaga. This basic outline along with minimal variations extending into a few basic taan patterns designed from raaga phrases all in swaras - facilitates the internalization of raga grammar and aesthetics in the form of an experiential nucleus which serves as the basis for future improvisational flights.
session 2
- Gat Bhav Thumri (Khamaj) - It is a composition of a Thumri genre structurally close to the Chhota Khayal it enables the easy experiential transition from the aesthetics of more classical khayal to the thumri genre. These aesthetics are more suitable for the student and exponents of Film music.
session 3
- Basic Bol Banav (Khamaj) - Bol Banav is the variation of short phrases of the composition and are considered by many trainers to be the first effective step from composition to improvisations.
session 4
- Raag Puriya Dhanashri (Raagang swar and Swargeet) it is a highly popular classical raaga that the film music student needs to be aquainted with
session 5
- Raag Puriya Dhanashri - Teentaal bandishit is a highly popular classical raaga that the film music student needs to be aquainted with
session 6
- Jhaptal bandish (Puriya Dhanashri) - it is a highly popular classical raaga that the film music student needs to be aquainted with
session 7
- Raag Kedar (Raagang swar and Swargeet) - Kedar is a highly popular phrase oriented raaga that is widely used in Popular genres. Phrase oriented raagas have the power to give the learner a sense of the phrase oriented character of the Indian Raaga system as against the Scalar Sense.
session 8
- Bandish In Raag Kedar - Kedar is a highly popular phrase oriented raaga that is widely used in Popular genres. Phrase oriented raagas have the power to give the learner a sense of the phrase oriented character of the Indian Raaga system as against the Scalar Sense.
session 9
- Raag kedar - Bandish (Gaikee) - Kedar is a highly popular phrase oriented raaga that is widely used in Popular genres. Phrase oriented raagas have the power to give the learner a sense of the phrase oriented character of the Indian Raaga system as against the Scalar Sense.
session 10
- Swar Exercises in Raag Ahir Bhairav - Ahir Bhairav is a Beautiful Morning Raaga of the Bhairav group. Extensively used in Film and Light music to convey Pathos and Soft Romance.
session 11
- Raag Ahir Bhairav(Swar Exercises) - Ahir Bhairav is a Beautiful Morning Raaga of the Bhairav group. Extensively used in Film and Light music to convey Pathos and Soft Romance.
session 12
- Raag Ahir Bhairav(Bandish) - Ahir Bhairav is a Beautiful Morning Raaga of the Bhairav group. Extensively used in Film and Light music to convey Pathos and Soft Romance.
session 13
- Raag Darbaari - Darbari is one of the most classical raagas of the hindustani system which interestingly is very amenable to Light music Film Music and Ghazal too
session 14
- Raag Darbaari(Raagang swar and Swargeet) - Darbari is one of the most classical raagas of the hindustani system which interestingly is very amenable to Light music Film Music and Ghazal too
session 15
- Raag Darbaari(Bandish Gaikee) - Darbari is one of the most classical raagas of the hindustani system which interestingly is very amenable to Light music Film Music and Ghazal too
session 16
- Raag Sohini - It is a very popular thumri angg raaga. the ethos and grammar of thumri and its improvisational methods are valuable pedagogy for the light music aspirants
session 17
- Raag Sohini(Bandish Thumri) - It is a very popular thumri angg raaga. the ethos and grammar of thumri and its improvisational methods are valuable pedagogy for the light music aspirants
session 18
- Raag Sohini(Raagang swar and Swargeet) - It is a very popular thumri angg raaga. the ethos and grammar of thumri and its improvisational methods are valuable pedagogy for the light music aspirants
session 19
- Raag Shivranjani (Raagang Swar and Swargeet) - Shivranjani, originally a Carnatic Raaga has fired creativity in North India across Light Music genres from Thumri & Dadra to Geet, Ghazal & Film Music. The Raga is highly expressive and versatile for emotions ranging from pathos & valour.
session 20
- Raag Mishra Shivranjani - Shivranjani, originally a Carnatic Raaga has fired creativity in North India across Light Music genres from Thumri & Dadra to Geet, Ghazal & Film Music. The Raga is highly expressive and versatile for emotions ranging from pathos & valour.
session 21
- Raag Mishra Shivranjani - Shivranjani, originally a Carnatic Raaga has fired creativity in North India across Light Music genres from Thumri & Dadra to Geet, Ghazal & Film Music. The Raga is highly expressive and versatile for emotions ranging from pathos & valour.
session 22
- Raag Desh (Raagang swar and Swargeet) - Desh is one of the most popular indian raga, well suited for light classical and seasonal compositions.one of the well-known versions of vande mataram has also been composed in raag desh
session 23
- Raag Desh Bandish(Ektaal) - Desh is one of the most popular indian raga, well suited for light classical and seasonal compositions.one of the well-known versions of vande mataram has also been composed in raag desh
session 24
- Raag Desh Bandish(Ektaal) - Desh is one of the most popular indian raga, well suited for light classical and seasonal compositions.one of the well-known versions of vande mataram has also been composed in raag desh
session 25
- Raag Bhairavi - Bhairavi is capable of creating an atmosphere of devotion, romance and pathos. Several film compositions can be found in Raag Bhairavi. The Famed Mile Surr Mera tumhaara has been composed in Raag Bhairavi as an ode to our collective idea of India as a Nation.
session 26
- Raag Bhairavi(Raagang swar and Swargeet) - Bhairavi is capable of creating an atmosphere of devotion, romance and pathos. Several film compositions can be found in Raag Bhairavi. The Famed Mile Surr Mera tumhaara has been composed in Raag Bhairavi as an ode to our collective idea of India as a Nation.
session 27
- Raag Bhairavi - Bhairavi is capable of creating an atmosphere of devotion, romance and pathos. Several film compositions can be found in Raag Bhairavi. The Famed Mile Surr Mera tumhaara has been composed in Raag Bhairavi as an ode to our collective idea of India as a Nation.
session 28
- Raagang Swar Exercises in Raag Kaushik dhwani / Bhinn Shadaj - Kaushik Dhwani is a classical Raga adapted very beautifully into Thumri. The Famed Yaad Piya Ki Aaye composed/Sung by Ustad Bade Ghulam Ali Khan sahab has been composed in Raag Kaushi
session 29
- Raagang Swar Exercises in Raag Kaushik dhwani(Raagang swar and Swargeet) - Kaushik Dhwani is a classical Raga adapted very beautifully into Thumri. The Famed Yaad Piya Ki Aaye composed/Sung by Ustad Bade Ghulam Ali Khan sahab has been composed in Raag Kaushi
session 30
- Raagang Swar Exercises in Raag Kaushik dhwani - Kaushik Dhwani is a classical Raga adapted very beautifully into Thumri. The Famed Yaad Piya Ki Aaye composed/Sung by Ustad Bade Ghulam Ali Khan sahab has been composed in Raag Kaushi
session 31
- Raag Bihag (Raagang swar swargeet) - Bihag is very traditional raga popular in both dhrupad and kayal.Its versatility in expressing both classism and Romanticism makes it amenable to Lighter Genres too
session 32
- Raag Bihag - Tarana - Bihag is very traditional raga popular in both dhrupad and kayal.Its versatility in expressing both classism and Romanticism makes it amenable to Lighter Genres too
session 33
- Raag Bihag - Tarana - Bihag is very traditional raga popular in both dhrupad and kayal.Its versatility in expressing both classism and Romanticism makes it amenable to Lighter Genres too
session 34
- Raag Hameer (Raagang swar and swargeet) - hameer is beautiful classical raaga that is heared less and less on stage today.In Film music it has been immortallized rafis madhuban mein radhika naache re
session 35
- Raag Hameer Bandish - hameer is beautiful classical raaga that is heared less and less on stage today.In Film music it has been immortallized rafis madhuban mein radhika naache re
session 36
- Raag Hameer Bandish - hameer is beautiful classical raaga that is heared less and less on stage today.In Film music it has been immortallized rafis madhuban mein radhika naache re
session 37
- Raag Pahadi(Raagang swar and swargeet) - Pahadi is originally a Folk Motif which can be found in every folk region of India. It has seen reverse integration into Thumri Dadra through traditional folk - classical forms like chaiti sawani jhoola etc.Naturally a great favourite of Film music directors
session 38
- Raag Pahadi Thumri Contd. - Pahadi is originally a Folk Motif which can be found in every folk region of India. It has seen reverse integration into Thumri Dadra through traditional folk - classical forms like chaiti sawani jhoola etc.Naturally a great favourite of Film music directors
session 39
- Raag Pahadi performance - Pahadi is originally a Folk Motif which can be found in every folk region of India. It has seen reverse integration into Thumri Dadra through traditional folk - classical forms like chaiti sawani jhoola etc.Naturally a great favourite of Film music directors
session 40
- Raag Bageshri (Raagang swar and swargeet) - Like Kedar, Bihag and Darbari, Bageshri too fits into the entire range of genres from Dhrupad to Light music
session 41
- Raag Bageshri (Raagang swar and swargeet) - Like Kedar, Bihag and Darbari, Bageshri too fits into the entire range of genres from Dhrupad to Light music
session 42
- Raag Bageshri (Raagang swar and swargeet) - Like Kedar, Bihag and Darbari, Bageshri too fits into the entire range of genres from Dhrupad to Light music
session 43
- Raag Kirwani (Raagang swar and swargeet) - kirwani is originally a carnatic raga corresponding to the harmonic minor scale of the western system.It is enatly highly melodious and colourful and fires the imagination of light music creativity.
session 44
- Raag Mishra Kirwani - kirwani is originally a carnatic raga corresponding to the harmonic minor scale of the western system.It is enatly highly melodious and colourful and fires the imagination of light music creativity.
session 45
- Kirwani Thumri Performance Contd. - kirwani is originally a carnatic raga corresponding to the harmonic minor scale of the western system.It is enatly highly melodious and colourful and fires the imagination of light music creativity.
session 46
- Raag Miyan ki Malhar(Raagang swar and Swargeet) - Like Darbari kanhada, miyan ki malhar, the emperor of the malhor group is a heavy and gamaka laden classical raga that interestingly lends itself to light music composition too
session 47
- Raag Miyan ki Malhar - Bandish - Like Darbari kanhada, miyan ki malhar, the emperor of the malhor group is a heavy and gamaka laden classical raga that interestingly lends itself to light music composition too
session 48
- Raag Miyan ki Malhar Performance Contd. - Like Darbari kanhada, miyan ki malhar, the emperor of the malhor group is a heavy and gamaka laden classical raga that interestingly lends itself to light music composition too
1
Come away with an ability to sing notes correctly in the three octaves, in a few basic scales.
2
Be able to keep to rhythm and the tala structure of songs.
3
Be able to sing simple songs with ease & perfection.
1
Developed into a competent performer of the styles covered in the Intermediate Course in accordance with his / her capacity and aspiration.
2
Developed his or her tone in terms of texture, volume, impact and range.
3
Developed mechanics and musical abilities to be able to render and perform iconic super-hits of reasonable musical complexity creditably on stage.
4
Understood the art and principles of effective performance.
5
Developed an understanding of swaras, sampoorna, audav, and audav-sampoorna scales, and be able to analyse/ decode songs in terms of swaras and scales.
6
Acquired ability to permute and combine notes and create patterns in different scales,and thus make beginnings in improvisation and composition.
7
Developed vocal mechanics in the context of classical music – the basic gamak, correct methods of singing in akaar, phrasing and taans.
8
Understood and experienced the ethos and character of raga as distinct from scale. Acquired command over Bilaval, Kalyan, Bhairavi, Bhairav and Kafi scales along with an ability to understand audav, shadav and other derivatives.
9
Understood the concept of tala and related it to his natural rhythm sense. Acquired ability to decode the tala arrangement in songs.
1
Developed into a full-fledged, competent, knowledgeable, skilled and effective performer of popular and film music.
2
Developed complete command over complex popular music styles and film songs, including complex film melodies, classical raga based film songs, complex songs, ghazals and challenging songs.
3
Acquired the ability to learn hindi songs perfectly from recordings, with complete understanding of the original singer’s vocal techniques.
4
Developed an impressive repertoire of songs.
5
Acquired an understanding and command over the true ethos of raga, and acquired the ability to improvise on, and even compose in ragas.
6
Acquired the tools of basic raga structure and elaboration in all the ragas of the module.
7
Acquired proficiency over concepts of tala – sam, utthan, cross rhythms.
8
Understood the concept and ethos of improvisation, and begun to develop natural improvisation sense.
9
Understood and acquired basic improvisational techniques used in Madhyalaya and Drut Khayal, and Gat-bhav Thumri performance. This will greatly enable the ability to perform complex semi-classical, popular and film music.
10
Be able to perform light classical or semi classical music with competent, attractive melodic and rhythmic improvisation, with all the vocal techniques required.
11
Have a fully functional tone and mechanics, with an understanding of how to solve one’s own vocal issues and navigate forward.
Preparatory
In this process, students with severe pitching (sur) issues are trained to produce musical notes correctly, sing rhythmically in Taal, and thus become eligible for the Intermediate Film Music Course.
session duration
60 mins
format
1-1 with Teacher
certification
On course completion
masterclass
Included
Number of Sessions
12 SessionsIntermediate
The Intermediate Film Music Course trains the student to become a competent performer of film and popular music both on stage and in the studio. Training is done in both Hindustani Classical music and Film Music
session duration
60 mins
format
1-1 with Teacher
certification
On course completion
masterclass
Included
Number of Sessions
24 SessionsAdvanced
The Advanced Film Music Course will enable a learner to achieve the skills of a competent, full-fledged film music playback singer or stage singer. Training in popular Ragas such as Khamaj, Sivaranjani, Pahadi, will be provided with improvisational techniques and methods.
session duration
60 mins
format
1-1 with Teacher
certification
On course completion
masterclass
Included
Number of Sessions
48 SessionsTestimonials
ShwetaUSA
AnjanaBangalore
SwastikaPune
AdarshMahabaleshwar
DevanshiAhmedabad
Our music courses
Tamil Film Music
A revolutionary training program in Tamil film music of all periods and styles. Offering a solid base of Carnatic Music Training and Voice Training.
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A complete professional training program covering the entire span from Sarali Varisai to the most complex keerthanams, raga alapanai, niraval and Kalpana swaram.