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Singing Visharad Purna

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

By the time this level is attained, the student is considered proficient in the field of music. He/she should be aware of the nuances of the different raags, and have his/her independent understanding, and more importantly, should be able to express and explain this to the listener. Tuning one’s own instrument expertly is an aspect that has special significance here. The student should also be able to perform the different forms of music like dhrupad, thumri, and tappa in their appropriate style.

  • Swar- The student should have the ability to imbibe any composition that is sung or presented in notation. He/she should be able to transform a composition into the gaayaki ang.
  • Raag - The student should be aware of the finest nuances of all the raags. He/she should be able to compose some sargam and bandish, and also use aalap, taans and bol-taans with meend, gamak, aandolan, etc competently in his/her presentation of the raag. Here, the rasa of the raag and the mood of the bandish must be kept in mind. The student will be taught a vilambit and a drut khyaal / maseetkhani and rajakhani gat in Raags Gaud Malhar, Gaud Sarang, Lalat, Shree, Purvi, Marwa, and Todi. These vilambit khyaals should be set to different taals like Ektaal, Teentaal, Tilwada and Jhumra. He/she should be able to perform these raags for upto thirty minutes. Also, the student will be trained to perform a madhya-laya bandish for upto fifteen minutes in Raags Jogi, Sindhura, Kafi, Tilang and Sohoni. Presenting a dhrupad and a dhamaar composition in aad (off-beat), double, triple and quadruple laya, as well as two taranas, and one trivat is also expected from the student. He/she will be asked to perform some semi-classical form such as a thumri, natya-geet, dadra, or any other form in a regional language.
  • Taal - The student should be able to show all the taals learnt thus far and say them in different laya. In addition to this, Taals Jhumra, Aada Chautaal, Dheema Tritaal, Dhamaar, Matta-taal, and Surfakta are included in this course. The student should be able to say and write the theka of different taals in difficult laya such as double, triple, four times, one and half times, two in three, four in three, three in four, etc.
  • Theory - The student will be asked to write a brief biography of Pt. Vishnu Digambar Paluskar, Pt. Balkrishnabua Ichalkaranjikar, Pt. Ramkrushnabua Vaze, Sangeet Samrat Tansen, Pt. Omkarnath Thakur, Pt. Shankarrao Pandit of Gwalior, Maseet Khan, Rajaa Khan, etc. There will also be essays on topics such as the types of khyaal-gaayan, the place of poetry in music, similarities and differences between the Jaipur and Gwalior gharanas, a comparative study of Hindustani and Carnatic styles, etc. Apart from this, the student will be expected to have comprehensive knowledge about topics such as the ancient types of nibaddha and anibaddha gaan, raag aalap, rupak aalap, the history of the classification of shrutis into swars, the raag-ragini system, thaat and raag-ang system etc. The student should be well-versed in all the raags learnt, such that he/she can give a detailed description of the nuances of all the raags, write his/her own aalaps and taans, and show the similarities and differences between raags that are close to each other. The student should also be able to recognise raags even from difficult written swar-arrangements. He/she is expected to write aalaps with alpatva-bahutva, avirbhaav-tirobhaav and show how the shadow of different raags emerges through the aalap, and also write compositions of different kinds in the notation styles of Pt. Bhatkhande and Pt. Paluskar. Apart from this, the rules of orchestra composition and knowledge of tuning the instruments generally used in an orchestra is also part of the curriculum. He/she should also have detailed knowledge about the difference between the Hindustani and Carnatic taal system, gram murchhana, types of gamak, a brief history of the development of music, as also further elaborate information about the terminology learnt in the previous courses. The student should be well-versed with the tanpura and will be asked to describe the other swars and shrutis emerging from it.