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Singing Visharad Pratham

Indian classical music is one of the oldest as well as complicated music forms in the world which is considered to be originated during the Vedic period. Indian classical music is regarded as pure and was primarily used as a mode to realise God in olden times and hence was performed only in the temples. Around 17th century, music became more open, flexible and accessible to common people. Indian classical music is deeply rooted in Indian culture and tradition and each place has great impact on music.

There are two branches to the traditional Indian classical music; they are Carnatic and Hindustani music. The Carnatic music is complex and is mostly practiced in the Southern part of India with particular form of Ragas and Talas. Carnatic music basically contains 7 Ragas and 72 Talas and is used in a rhythmic pattern. The three saints in Carnatic music are Thyagaraja, Muthuswami Dikshitar and Shyama Shashtri who have composed thousands of Krithis which are still favoured by musicians. Here more emphasis is given to vocal singer, hence the training in this form of music is started from a very early age and a well qualified master is also needed for teaching Carnatic music. These compositions are also taught in all Carnatic singing classes in Pune to train the students who want to excel in this style of music.

Hindustani music unlike Caranatic music is greatly influenced by Persian and Islamic cultures and is more prominent in North India. The heritage of Hindustani music goes back to Sufi age. The melodic pattern is brought in to the music with intelligent use of Ragas known as Aaroha and Avaroha. The main styles of vocal Hindustani classical music are Dhrupad, Khayal and Tarana. At Gandharva Mahavidyalaya, students are given training in these forms of music.

Gandharva Mahavidyalaya is one of the reputed singing classes in Pune. Gandharva Mahavidyalaya established by Pt. V. Patwardhan, the most senior disciple of Pt Vishnu Digambar Patwardhan who wished to spread music to the common people, aims at educating and promoting music like Hindustani and instrument music like Harmonium and Tabla to the common people.

Here special care is given to bring out the best in a very student so that they can perform Hindustani classical music at international levels. Here the students also get the opportunity to perform and participate in well acclaimed concerts which is not available in any other singing classes in Pune. With years of experience and dedication GMV is preferred as one of best singing classes in Pune. GMV also introduces Sugam Sangeet into the various music courses which cover Bhavgeet, Natyageet and more. There is music courses organised for kids who are more than 5 years of age and the course is named as Balgeet.

  • Course Objectives
  • Course Contents

In the next two courses, the student will be expected to make special efforts to develop his/her performance skills. He/she should be able to properly explicate and present a bandish with aalap, taan and bol-taan, and make the performance both balanced as well as impressive. As the student progresses through the courses, his/her depth of knowledge is expected to increase. Thus, even if the issues emerging in all further examinations are more or less the same, the student’s expertise in it is supposed to increase with each passing level.

  • Raag - The student will be taught one vilambit khyaal / gat and one drut khyaal / gat in Raags Puriya, Bibhas, Bhoop, Miya Malhar, Multani, Darbari Kanada and Bilawal. One of these vilambit khyaals needs to be set to Taal Tilwada. Apart from this, the student should be able to perform a madhya-laya bandish / gat for around fifteen minutes in the Raags Adana, Basant, Gaud Sarang, Jhinjhoti, and Jaunpuri. The aalap, taan, and bol-taan that are performed here should emerge from the student’s own creativity. Also, the student has to be prepared to perform two dhrupad, two dhamaar (in double, triple and quadruple tempos), two taranas, and one chatranga or trivat. The student should also know a thumri, natya-geet, bhaav-geet, dadra, or any other such form of semi-classical music.
  • Taal - Taals Tevra, Deepachandi, and Tilwada are introduced in this course.
  • Theory - The student is expected to be able to compare different features of the raags in the syllabus. He/she should also be able to recognise the raag from a written set of swars, and should be able to expand it in a written form in the same manner. He/she should also know how to write the notation of the bada and chhota khyaals, the dhrupad and dhamaar included in the syllabus, as well as the taals with complete details in both the Paluskar and Bhatkhande styles of notation. The student will also be given information about different forms of music like chatranga, ashtapadi, tappa, hori, etc. Apart from this, he/she should be able to write a brief note about topics such as the thaat and raag system, the modern style of aalap gaayan, raag-lakshan (both old as well as new), gaayaki-naayaki, jaati-gaayan, the three categories of raags and their classification according to time, the history of the raag-raagini system, etc. Composing a basic piece of music is also a part of the curriculum for this course. Also, the student should briefly know about the styles of the present well-known singers and instrumentalists, and the features of different established gharanas in classical music. In the written examination, he/she will be asked to write an essay on topics such as folk music, music and literature, the problems music faces today, raag and rasa, etc. The student should also know about the life and work of Ustad Alladiya Khan, Ustad Bade Ghulam Ali Khan, Pt. V.N. Patwardhan, Pt. Ratanjankar, Ustad Ali Akbar Khan, Pt. Ravi Shankar, and Ustad Vilayat Khan.