This course points to make a solid base on which the understudy can construct his/her music abilities. In this way, it takes the understudy a small assist and presents a few more concepts. The understudy is anticipated to create his/her introduction abilities and be able to perform a raag for around five minutes by the conclusion of this course.

Swar: In this course, the understudy is instructed a few more alankaars utilizing all the seven shuddha swars. He/she will too be anticipated to perceive the swars indeed when they are sung in little groups.

Raag: The understudy is required to display aalap, taan, boltaan in any four raags out of those learnt in the Praarambhik course. A few more lakshan-geet are too instructed here. Too, it is fundamental that he/she knows the aaroha-avroha and bandish of the other four raags that are portion of the syllabus.

Taal: The understudy is presented to Dadra and Keherwa in this course. He/she ought to be able to recount and appear the taals learnt in these two courses through claps with the hands.

Theory: Music phrasing such as khanda, mel, dhwani, aavartan, chhota khyal, sthaayi-antara, shuddha, komal and teevra swar, etc, as too expand data almost the raags in the syllabus, such as the swars, aaroha-avroha-pakad, vaadi-samvaadi, etc is clarified here.

As the student’s nature with Indian classical music advances, he/she will be uncovered to the utilize of the tanpura in the introduction of music, as moreover a few semi-classical shapes of music in this course. Moreover, there will be a composed examination along with the down to earth verbal examination here.

Swar: In this course, the swar-alankaars gotten to be more complicated. The understudy will be instructed alankaars utilizing eight swars, which will incorporate a few komal and teevra swars as well.

Raag: This course prepares the understudy to unquestionably perform a raag for around eight minutes, with a gat / bandish, preparatory aalap, taan, bol-taan, etc. Along with the eight raags secured in the past two examinations, he/she will be instructed on ten more raags in this course. These are Bihag, Kedar, Sarang, Dhani, Tilak Kamod, Bhairav, Tilang, Pilu, Patdeep, and Alhaiya Bilawal. The understudy will moreover be instructed lakshan-geet, a bhajan and a natya-geet in any three of these raags. He/she ought to be able to perceive the raag from a few fundamental aalap, and know the hypothetical subtle elements of all these eighteen raags.

Taal: Along with the taals learnt in the to begin with two courses, the understudy will be presented to Drut Ektaal and Rupak here, which he/she will be anticipated to appear through claps with the hands.

Theory: Beginning from this level, there will be a composed examination to test the student’s hypothetical establishment. The understudy will be anticipated to know definitions of terms like ansh, nyaas, kan-swar, lom-anulom-vilom-pratilom, anuvaadi-vivaadi, shruti, janak raag-janya raag, meend, gamak, etc. The understudy will too be given data with respect to the rules of making a raag, as well as the distinctive jaati of a raag. This course will instruct the understudy the two documentation styles of North Indian classical music, i.e. the Pt. Vishnu Digambar Paluskar strategy and the Pt. Bhatkhande strategy. In this way, in the examination, the understudy will be inquired to type in the documentation of the taals learnt, as well as the chota khyaal bandish of five of the raags in the show syllabus. Learning almost the life and work of Pt. Vishnu Digambar Paluskar is too an imperative highlight of this course. In the composed examination, there will too be a few questions relating to the hypothesis examined in the past courses.

From this course onwards, the understudy of vocal music ought to be able to sing exclusively with the tanpura and without the backup of the harmonium. This course moreover presents the understudy to the vilambit khyaal, as well as to the dhrupad fashion of music.

Swar: By the time the understudy comes to this level, he/she ought to have accomplished the competence to perceive both shuddha as well as komal and teevra swars confidently.

Raag: The understudy will be instructed a vilambit khyaal and a drut khyaal in Raags Kalyan, Bageshri, Bhairav and Bihag, and he/she will be anticipated to show the raag for around twelve minutes, utilizing one’s possess inventiveness to expand on the aalap, taan, and boltaan. Separated from this, the understudy will learn a madhya-laya bandish in Raags Hameer, Asavari, Shankara, Malkauns, Maand, and Deskar. The understudy ought to moreover be competent at perceiving a raag from a signature gather of swars. Too, the understudy will be presented to two dhrupads, in one-to-one and twofold laya. In the exam, he/she might be inquired to display a bandish in Drut Ektaal, as well as a tarana, bhajan, bhakti-geet, or natya-geet in any of the raags in the syllabus.

Taal: Separated from all the taals learnt already, the understudy will be instructed Ektaal and Chautaal in this course, and will be inquired to appear the taal in single as well as twofold beat through claps with his/her hands.

Theory: In the composed examination for this course, the understudy will be anticipated to compare the raags learnt from all viewpoints. He/she will moreover be instructed to compose the bols of the taals learnt, both in single beat as well as dugun (twofold beat). Too, the understudy ought to be able to type in the documentation of the drut bandish as well as the dhrupad in twofold rhythm. This course moreover gives point by point data around dhrupad, dhamaar, vilambit khyaal, chhota khyaal, bhajan, etc, as well as fundamental data around society music, light music and film music. The understudy is too anticipated to know around shadja-madhyam bhaav and shadja-pancham bhaav. Separated from this, he/she is given a brief outline of North Indian (Hindustani) classical music and South Indian (Carnatic) classical music. As portion of definitions, the learner will be presented to the better focuses of naad, as well as ghaseet, jamjama, and murki. He/she will too be required to know the brief memoir of Pt. V.N. Bhatkhande and Pt. Vishnu Digambar Paluskar, as well as the subtleties of their documentation strategies.

This course anticipates the understudy to have achieved a fundamental level of competence in the in general understanding of music. This is best tried through the way the student reacts to the tanpura. In this way, he/she will be required to tune the tanpura to the fitting swars.

Swar: The understudy ought to be able to sing and perceive shuddha and komal-teevra swars, and moreover utilize different sorts of alankaars in his/her performance.

Raag: The understudy will be instructed one vilambit and one drut khyaal in Raags Chhayanat, Puriya Dhanashri, Bhimpalas, Jaijaiwanti, and Asavari. He/she ought to be able to perform any two of these raags for fifteen minutes, with total aalap, taan, and boltaan. Separated from this, he/she will too be prepared in performing a madhya-laya bandish for ten minutes in Raags Kamod, Kalingda, Kedar, Hindol, and Bahar. The understudy will too have to get prepared in one dhrupad and one dhamaar composition (with twofold and fourfold tempos), as well as two taranas, and one Drut Ektaal bandish in this course. Too, as portion of semi-classical music, the understudy will be inquired to perform either natya-sangeet, bhajan or bhaav-geet (light music).

Taal: The understudy will be instructed the Taals Tevra and Surfakta (Sul taal) this year, and will too be surveyed in all the taals learnt in the past courses. The understudy will be anticipated to say the taals with bols whereas checking the maatras with the fingers and hands in single, twofold, triple and fourfold laya.

Theory: The understudy ought to be proficient at perusing and composing both the scripts of music by this level. He/she will be inquired to compose the documentation of the chhota and bada khyaals in the raags learnt for the composed examination. Here, the understudy ought to too be able to compose the twofold, three times and four times tempos in the Bhatkhande as well as Paluskar fashion of documentation. With regard to the composed examination, the understudy ought to be mindful of the total profile of all the raags and taals in the syllabus and be able to compare them with each other. He/she ought to too have in-depth information approximately dhrupad and dhamaar. Definitions of wording such as purvanga-uttaraanga, purvaraag-uttarraag, varna, khatka, murki, gamak, aandolan and gitakadi, as moreover particulars almost alpatva-bahutva, avirbhaav-tirobhaav, anulom-vilom, etc are moreover portion of the syllabus. Other specialized subtle elements that are included in the educational programs are the distinctive raag-jaati and sorts of taan, sound and its properties, the shruti framework, its classification in the antiquated and cutting edge frameworks, as too in the North Indian and South Indian styles of music, etc. The learner ought to moreover know approximately the thaat framework and its relative aces and cons. He/she will moreover be inquired to compose a brief life story of Pt. Balkrishnabua Ichalkaranjikar and Ustad Abdul Karim Khan in the composed examination.

In the following two courses, the understudy will be anticipated to make extraordinary endeavors to create his/her execution abilities. He/she ought to be able to appropriately elucidate and display a bandish with aalap, taan and bol-taan, and make the execution both adjusted as well as amazing. As the understudy advances through the courses, his/her profundity of information is anticipated to increment. In this way, indeed if the issues rising in all advance examinations are more or less the same, the student’s skill in it is gathered to increment with each passing level.

Raag: The understudy will be instructed 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. Separated from this, the understudy ought to 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 ought to rise from the student’s possess inventiveness. Too, the understudy has to be arranged to perform two dhrupad, two dhamaar (in twofold, triple and fourfold tempos), two taranas, and one chatranga or trivat. The understudy ought to moreover know a thumri, natya-geet, bhaav-geet, dadra, or any other such shape of semi-classical music.

Taal: Taals Tevra, Deepachandi, and Tilwada are presented in this course.

Theory: The understudy is anticipated to be able to compare distinctive highlights of the raags in the syllabus. He/she ought to too be able to perceive the raag from a composed set of swars, and ought to be able to extend it in a composed frame in the same way. He/she ought to moreover know how to compose the documentation of the bada and chhota khyaals, the dhrupad and dhamaar included in the syllabus, as well as the taals with total subtle elements in both the Paluskar and Bhatkhande styles of documentation. The understudy will too be given data approximately diverse shapes of music like chatranga, ashtapadi, tappa, hori, etc. Separated from this, he/she ought to be able to type in a brief note around subjects such as the thaat and raag framework, the present day fashion of aalap gaayan, raag-lakshan (both ancient as well as modern), gaayaki-naayaki, jaati-gaayan, the three categories of raags and their classification agreeing to time, the history of the raag-raagini framework, etc. Composing a fundamental piece of music is too a portion of the educational programs for this course.

Moreover, the understudy ought to briefly know approximately the styles of the display well-known artists and instrumentality, and the highlights of distinctive set up gharanas in classical music. In the composed examination, he/she will be inquired to compose an paper on points such as people music, music and writing, the issues music faces nowadays, raag and rasa, etc. The understudy ought to moreover know almost 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.

By the time this level is achieved, the understudy is considered capable in the field of music. He/she ought to be mindful of the subtleties of the distinctive raags, and have his/her autonomous understanding, and more imperatively, ought to be able to express and clarify this to the audience. Tuning one’s claim instrument expertly is a viewpoint that has uncommon noteworthiness here. The understudy ought to moreover be able to perform the diverse shapes of music like dhrupad, thumri, and tappa in their fitting style.

Swar: The understudy ought to have the capacity to soak up any composition that is sung or displayed in documentation. He/she ought to be able to change a composition into the gaayakiang.

Raag: The understudy ought to be mindful of the finest subtleties of all the raags. He/she ought to be able to compose a few sargam and bandish, and too utilize aalap, taans and bol-taans with meend, gamak, aandolan, etc competently in his/her introduction of the raag. Here, the rasa of the raag and the temperament of the bandish must be kept in intellect. The understudy will be instructed 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 ought to be set to diverse taals like Ektaal, Teentaal, Tilwada and Jhumra. He/she ought to be able to perform these raags for upto thirty minutes. Too, the understudy will be prepared to perform a madhya-laya bandish for upto fifteen minutes in Raags Jogi, Sindhura, Kafi, Tilang and Sohoni. Displaying a dhrupad and a dhamaar composition in aad (off-beat), twofold, triple and fourfold laya, as well as two taranas, and one trivat is moreover anticipated from the understudy. He/she will be inquired to perform a few semi-classical shape such as a thumri, natya-geet, dadra, or any other frame in a territorial language.

Taal: The understudy ought to be able to appear all the taals learnt hence distant and say them in diverse laya. In expansion to this, Taals Jhumra, Aada Chautaal, Dheema Tritaal, Dhamaar, Matta-taal, and Surfakta are included in this course. The understudy ought to be able to say and compose the theka of diverse taals in troublesome laya such as twofold, triple, four times, one and half times, two in three, four in three, three in four, etc.

Theory: The understudy will be inquired to compose a brief life story 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 too be papers on subjects such as the sorts of khyaal-gaayan, the put of verse in music, likenesses and contrasts between the Jaipur and Gwalior gharanas, a comparative consider of Hindustani and Carnatic styles, etc. Separated from this, the understudy will be anticipated to have comprehensive information approximately points such as the antiquated sorts of nibaddha and anibaddha gaan, raag aalap, rupak aalap, the history of the classification of shrutis into swars, the raag-ragini framework, thaat and raag-ang framework etc. The understudy ought to be well-versed in all the raags learnt, such that he/she can donate a point by point depiction of the subtleties of all the raags, compose his/her possess aalaps and taans, and appear the likenesses and contrasts between raags that are near to each other. The understudy ought to moreover be able to perceive raags indeed from troublesome composed swar-arrangements. He/she is anticipated to compose aalaps with alpatva-bahutva, avirbhaav-tirobhaav and appear how the shadow of diverse raags develops through the aalap, and moreover type in compositions of distinctive sorts in the documentation styles of Pt. Bhatkhande and Pt. Paluskar. Separated from this, the rules of ensemble composition and information of tuning the rebellious for the most part utilized in an symphony is too portion of the educational programs. He/she ought to moreover have point by point information almost the contrast between the Hindustani and Carnatic taal framework, gram murchhana, sorts of gamak, a brief history of the advancement of music, as too assist expand data around the wording learnt in the past courses. The understudy ought to be well-versed with the tanpura and will be inquired to depict the other swars and shrutis rising from it.

These being the last two years, the understudy will consequently have picked up a certain level of development in his/her understanding as well as execution. These two viable examinations will be conducted in a concert set-up. In this way, the understudy will require certainty and a firm get a handle on the craftsmanship of music in order to make his/her execution impressive.

Swar: The understudy is expected to be capable at composing as well as perusing documentation exceptionally minutely. He/she ought to moreover be able to make modern compositions on the spot, as may be required in the examination.

Raag: The understudy is anticipated to have in-depth information about raags like Gujri Todi, Maru Bihag, Shyam Kalyan, Shuddha Kalyan, Paraj, Nayaki Kanada, Devgiri Bilawal, etc. Separated from this, he/she will moreover be tried for a general understanding of raags like Bhairav Bahar, Kalavati, Abhogi, Basant Bahar, Chandrakauns, Hansadhwani, etc. For the execution portion of the exam, the understudy can select any one raag, to be displayed in detail, and a thumri, bhajan or any other frame of semi-classical or light music. He/she ought to be mindful of the complexities of the bandish and taal, as well as compositions such as dhrupad-dhamaar, taranas, chatranga, etc in the raags identified four point by point. The understudy ought to too have a collection of compositions which appear the diverse styles of singing or playing. Comprehensive information around the raags in the syllabus is anticipated. As part of this, he/she ought to be able to talk about the wrangles predominant, make a comparative ponder of comparable raags, etc. for the composed examination. Taal - The understudy ought to have the capacity to appear all the commonly utilized taals in distinctive laya like twofold, triple, fourfold, as well as one and half times, one and one-fourth times, etc.

Theory: The understudy ought to know the history and ought to be able to make a comparative think about the documentation strategies in Indian music. He/she ought to moreover have accomplished mastery in the diverse shapes of music and styles of playing of disobedience. Separated from this, he/she ought to be able to talk about the significance of shrutis and kan-swars in singing, the properties of sound, swars, and the improvement of the swar-octave. Too, he/she ought to know around the standards of the tanpura, distinctive ways of tuning the tanpura, etc.

This is the last course. Hence, it points to look at how the understudy has soaked up the generally vibe of music. The understudy ought to be competent at all viewpoints by this level; he/she ought to be able to perform, get it, and clarify both the commonsense and hypothetical viewpoints of music. There will be two composed examinations at this level.

Raag: A few of the raags included in the syllabus for this last exam are Shree, Gaud Malhar, Marwa, Ahir Bhairav, Bilaskhani Todi, Bhatiyar, and so on. The understudy has to select one of these raags and ought to be able to perform it in the environment of a concert for around thirty to forty-five minutes, with a vilambit as well as a drut composition. He/she ought to too be capable in raags like Madhmadh Sarang, Madhuvanti, Jogkauns, Khambavati, Bihagda, Kukubh Bilawal, etc. The understudy is anticipated to be able to compose the documentation fundamental for symphony, move, show, etc.

Theory: The understudy will be inquired to make a comparative consideration of Hindustani and Carnatic music. He/she will be teaching the significance of vocal preparation and voice culture. In the to begin with composed exam, the understudy will be inquired to make a point by point comparative think about of the different raags in the syllabus, as moreover the advanced shapes of melodic expression such as the ensemble, playback singing, foundation music, film music, and so on. The understudy ought to moreover be able to put a piece of verse to music, and set it to a particular raag and/or taal as required. In the composed exam, the understudy will be asked to talk about the creation of modern raags, as well as that of mishra-raags (blended raags). Moreover, he/she is anticipated to have comprehensive information around gharanas, their history and the primary craftsmen having a place in the specific gharana. In this course, he/she will moreover be inquired to talk about the relationship of music with writing, show, and move, as moreover raag-rasa and the hypothesis of time with regard to raags.