Online Hindustani Music Classes

Hindustani Classical

Shubha Mudgal | Faculty Head

Many applicants who wish to pursue online Hindustani music classes lack Swara sense. In order to cope with the demands of the Intermediate course, the applicant has to be given pitch training, which is the purpose of the Preparatory Course.

The Intermediate Hindustani Classical Music Course creates a foundation for the serious and dedicated Hindustani Classical Music student who aspires to delve deep into Raga Music and develop into a classical performer. Commencing from reinforcing command over swaras and tala, the candidate is trained in the ten mother scales (thaats) and ragas of Hindustani Music – Bilaval, Kalyan, Khamaj, Kafi, Bhairav, Purvi, Marwa, Todi, Asavari and Bhairavi. From the early stages of the Hindustani classical music, the student is introduced to the methods of improvisation and the art of performance – alaap, bol-alaap, sargam, taan, bol-taan and bol-baant. Progressive levels of improvisational skills and performance practices are inculcated in Madhyalaya and Drut Khayal, Tarana and Thumri.Hindustani vocal course builds the foundation for the student to progress to the Advanced course, which is designed to develop the aspirant into a full-fledged Khayal performer.

This course takes the student into higher order Hindustani Classical Music performance realms – the venerated Vilambit Khayal. The student will receive training in the high level of knowledge, the incredible mental and vocal skills, the aesthetics, creativity and impact that have enabled great Hindustani Classical vocalists to mesmerize audiences, and bring joy and salvation to millions over centuries. Performance practices, technique, unique vocal and improvisational abilities are built systematically as the student progresses through various ragas – Behag, Malkauns, Sohini, Multani, Poorya Dhanasri, Bageshri, Kedar, Desh, Ahir Bhairav, Darbari Kanada, Miya Ki Malhar and Basant – ragas that have been delved into by generations of the greatest maestros of our land.

A basic appreciation of Hindustani Classical music.
A desire to develop a deep understanding of Hindustani vocal music or acquire knowledge and performance skills in classical music.
The candidate should have definite pitching issues.

No previous experience or training is required. However, basic knowledge, a general interest in, and exposure to Hindustani Classical Music as a listener, would help the student learn faster.
The student should have a natural or trained sense of Sur and Taal

Ability to give short creditable performances in ten Thaat Ragas of Hindustani classical music
Adequate understanding of the concept of Raga
Basic command over the ten basic Thaat ragas as canvases for performance.
Adequate understanding of the tala system and the ability to perform in the major Madhyalaya and drut talas.
Improvisation skills both on melodic and rhythmic dimensions, along with knowledge of and skill in a variety of formal improvisation techniques – alaap, bol-alaap, sargam, taan, bol-taan, bol-baant.
Knowledge and understanding of fundamental theory and terms that are necessary to have a proper conceptual understanding of the art.

session 1-12
  • Vocal Exercises
  • Swarmalika in Raag Bilawal
  • Madhya Laya Khayal Bandish in Raag Alhaiya Bilawal
  • Few Songs/Bhajans from the Hindustani Classical Preparatory Song Bank

session 1-4
  • Preliminary vocal exercises
  • Swarmalika in Raag Bilawal
  • Madhya Laya Khayal bandish in Raag Alhaiya Bilawal.
session 5-8
  • Introduction to Kalyan Thaat
  • Introduction to Raag Yaman
  • Understanding the grammar of Raag Yaman
  • Madhya Laya Khayal Bandish in Raag Yaman
  • Elementary Methods of Improvisation
  • Terms and Theory
session 9-12
  • Introduction to Khamaj scale (Thaat)
  • Introduction to Raag Khamaj
  • Understanding Khamaj Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Khamaj
  • Understanding of the Taal System
  • Terms and Theory
  • Short performance in Raag Khamaj Or Yaman
session 13-16
  • Introduction to Bhairav scale (Thaat)
  • Introduction to Raag Bhairav
  • Understanding Bhairav Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Bhairav
  • Tarana in Raag Bhairav
  • Additional methods of Improvisation
  • Terms and Theory
  • Revision of all the Raags learned upto Module 4
session 17-20
  • Introduction to Kafi scale (Thaat)
  • Introduction to Raag Kafi
  • Understanding Kafi Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Kafi
  • Lakshan-Geet in Raag Bhairav
  • Methods of Improvisation
  • Terms and Theory
  • Revision of all the Raags learned upto Module 5
session 21-24
  • Introduction to Todi scale (Thaat)
  • Introduction to Raag Todi
  • Understanding Todi Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Todi
  • Basic alaap, vistaar
  • Terms and Theory
  • Bhajan - Vaishnav Jan toh (By Adi Kavi Narsinh Mehta)
session 25-28
  • Introduction to Poorvi scale (Thaat)
  • Introduction to Raag Poorvi
  • Understanding Poorvi Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Poorvi
  • Development of Badhat / Vistaar
  • Terms and Theory
  • Revision of all the Raags and terms learned upto Module 7
session 29-32
  • Introduction to Asavari Thaat
  • Introduction to Raag Asavari
  • Understanding Asavari Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Asavari
  • Additional methods and skills of improvisation
  • Terms and Theory
  • Revision of all the Raags and terms learned upto Module 8
session 33-36
  • Introduction to Marwa scale (Thaat)
  • Introduction to Raag Marwa
  • Understanding Marwa Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Marwa
  • Exercising improvisation skills
  • Understanding of the Taal System
  • Terms and Theory
  • Revision of all the Raags and terms learned upto Module 9
session 37-40
  • Introduction to Thhat Bhairavi
  • Introduction to Raag Bhairavi
  • Understanding Bhairavi Raag Swaroop (grammar)
  • Madhya Laya Khayal Bandish in Raag Bhairavi
  • Acquiring adequate command over improvisation techniques and skills
  • Terms and Theory
  • Revision of all the Raags and terms learned upto Module 10

session 1-5
  • Introduction to Raga Bihag
  • Structure and grammar of Bihag
  • Vilambit Khayal In Bihag
  • The Art and Science of Vilambit Khayal performance in Raga Bihag – badhat, bol-baant,sargam, taan.
  • Principles and Practices in Riyaz
  • Terms and Theory
session 6-10
  • Introduction to Raga Vrindavani Sarang
  • Structure and grammar of Vrindavani Sarang
  • Vilambit and Madhyalaya Khayals In Vrindavani Sarang
  • The Art and Science of Vilambit Khayal and Madhyalaya Khayal performance in Raga Vrindavani Sarang – alaap, bol-alaap, bol-baant, sargam, taan.
  • Principles and Practices in Riyaz
  • Guided listening of Vrindavani Sarang concert.
  • Terms and Theory
session 11-15
  • Introduction to Raga Sohini
  • Structure and grammar of Sohini
  • Bandishi Thumr Khayals In Sohini
  • The Art and Science of Thumri performance in Raga Sohini.
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory
session 16-20
  • Introduction to Raga Kedar
  • Structure and grammar of Kedar
  • Vilambit Khayal and Madhyalaya Khayal in Kedar
  • The Art and Science of Khayal performance in Raga Kedar – badhat, bol-baant, sargam, taan, bol-taan.
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory
session 21-25
  • Introduction to Raga Multani
  • Structure and grammar of Multani
  • Vilambit Khayal and Madhyalaya Khayal in Multani
  • The Art and Science of Khayal performance in Raga Multani – badhat, bol-baant, sargam.
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory
session 25-30
  • Introduction to Raga Puriya Dhanashri
  • Structure and grammar of Puriya Dhanashri
  • Vilambit Khayal and Madhyalaya Khayals In Puriya Dhanashri
  • The Art and Science of Khayal performance in Raga Puriya Dhanashri – badhat, bol-baant,sargam, taan, bol-taan.
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory
session 31-35
  • Introduction to Raga Malkauns
  • Structure and grammar of Malkauns
  • Vilambit Khayal and Madhyalaya Khayal in Malkauns
  • The Art and Science of Khayal performance in Raga Malkauns – badhat, bol-baant, sargam,taan, bol-taan.
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory
session 36-40
  • Introduction to Raga Darbari Kanada
  • Structure and grammar of Darbari Kanada
  • Vilambit Khayal and Madhyalaya Khayal in Darbari Kanada
  • The Art and Science of Khayal performance in Raga Darbari Kanada – badhat, bol-baant,sargam, taan, bol-taan.
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory
session 41-45
  • Introduction to Raga Ahir Bhairav
  • Structure and grammar of Ahir Bhairav
  • Vilambit Khayal and Madhyalaya Khayals In Ahir Bhairav
  • The Art and Science of Khayal performance in Raga Bhairav – badhat, bol-baant, sargam,taan, bol-taan.
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory
session 46-50
  • Introduction to Raga Des, Mian Ki Malhar and Basant
  • Structure and grammar
  • Madhyalaya Khayal with performance techniques
  • Principles and Practices in Riyaz
  • Guided listening
  • Terms and Theory

    1
    Will have acquired command over Sur and Taal
    2
    Be in an easy position to cope with the demands of the first session of the Intermediate Course

    1
    Will have knowledge and understanding of fundamental theory and terms that are necessary to have a proper conceptual understanding of the art.
    2
    Will have a solid foundation of knowledge and skills to take advanced training in classical music and develop into a full-fledged, able Hindustani Classical Performing artiste.
    3
    Will have adequate capacity to give short creditable performances in ten Ragas of Hindustani classical music.
    4
    Would have acquired deep acquaintance with the concept of Raga as a language for melodic ideation, improvisation and composition.
    5
    With the help of Hindustani classical vocal training the student would have good command over the ten basic ragas as canvases for performance.
    6
    Would have command over the tala system and the ability to perform in the major Madhyalaya and drut talas.
    7
    Would have ignited and developed improvisation skills both on melodic and rhythmic dimensions, along with knowledge of and skill in a variety of formal improvisation techniques – alaap, bol-alaap, sargam, taan, bol-taan, bol-baant.

    1
    Be able to give a full-fledged performance of Khayal – Vilambit, Madhyalaya, Drut – with all the variegated improvisation techniques.
    2
    Have full command over 12 advanced raags and 10 thaat raags, in terms of basic grammar, and improvisation.
    3
    Will have adequate capacity to give short creditable performances in ten Ragas of Hindustani classical music.
    4
    Gain command over layakari – rhythmic play of different varieties, in different tala-s.
    5
    Have the ability to learn and develop proficiency in raga-s beyond the ambit of the curriculum, by applying the deep understanding of the principles of ragadari, layakari, improvisation, aesthetics and performance effectiveness.
    6
    When you <a href='https://artiumacademy.com/' target='_blank' style='cursor':'pointer'>learn Indian Classical Music online</a>the student will have full command over the genres of Khayal and Thumri.
Preparatory
Many applicants who wish to pursue classical music lack swara sense. In order to cope with the demands of the Intermediate course, the applicant has to be given pitch training, which is the purpose of the Preparatory Course.

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session duration
60 mins
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format
1-1 with Teacher
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certification
On course completion
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masterclass
Included

Number of Sessions
12 Sessions
Intermediate
The Intermediate Hindustani Classical Music Course trains the student in basic improvisation in the ten basic Thaats, and builds the foundation for the student to progress towards full-fledged Khayal performance in the Advanced Course.

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session duration
60 mins
clock-icon
format
1-1 with Teacher
clock-icon
certification
On course completion
clock-icon
masterclass
Included

Number of Sessions
40 Sessions
Advanced
The Advanced Hindustani Classical Music Course takes the learner into Vilambit Khayal and the art and performance techniques of full-fledged classical performance. The student gets trained Vilambit badhat, bol alaap, bol taan, taan, layakari – in 12 ragas, derived from the basic 10 thaats.

clock-icon
session duration
60 mins
clock-icon
format
1-1 with Teacher
clock-icon
certification
On course completion
clock-icon
masterclass
Included

Number of Sessions
50 Sessions

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