This is the beginning of the course. It points to start the understudy into Kathak as an craftsmanship and to create an adoration for this move frame. It presents him/her to the essentials of Kathak and rhythm.

Swar: In this course, the understudy learns a couple additional alankaars using all seven shuddha swars. He/she will also be expected to recognize the swars when they are sung in small groups.

Raag: The understudy is needed to demonstrate aalap, taan, and boltaan in any four raags learned in the Praarambhik course. A couple more lakshan-geet are also taught here. Furthermore, he or she must be familiar with the aaroha-avroha and bandish of the other four raags included in the syllabus.

This session introduces Dadra and Keherwa to Taal, the understudy. He or she should be able to recall and demonstrate the taals learned in these two classes using hand claps.

Theory: Music phrases such as khanda, mel, dhwani, aavartan, chhota khyal, sthaayi-antara, shuddha, komal, and teevra swar, as well as expanding data on practically all of the raags in the syllabus, such as the swars, aaroha-avroha-pakad, vaadi-samvaadi, and so on, are clarified here.

As the student's familiarity with Indian classical music grows, he or she will be exposed to the use of the tanpura in the introduction of music, as well as a few semi-classical musical forms in this course. In addition to the ordinary verbal examination, a prepared examination will be administered here.

Swar: The swar-alankaars become more intricate throughout this semester. The student will be taught alankaars using eight swars, which will include some komal and teevra swars as well.

Raag: This course prepares the understudy to perform a raag for around eight minutes, including a gat / bandish, preparatory aalap, taan, bol-taan, and so forth. Along with the eight raags obtained in the previous two examinations, he or she will be taught ten more raags in this course. These include Bihag, Kedar, Sarang, Dhani, Tilak Kamod, Bhairav, Tilang, Pilu, Patdeep, and Alhaiya Bilawal. The understudy will also be taught lakshan-geet, bhajan, and natya-geet in any three of these ragas. He/she should be able to recognize the raag from a few key aalaps and understand the potential subtleties of all eighteen raags.

Taal: In addition to the taals learned in the first two classes, the understudy will be introduced to Drut Ektaal and Rupak here, where he or she is expected to appear through hand claps.

Theory: Beginning with this level, a constructed examination will be given to assess the student's hypothetical establishing. The understudy would be expected to understand the meanings of terminology such as ansh, nyaas, kan-swar, lom-anulom-vilom-pratilom, anuvaadi-vivaadi, shruti, janak raag-janya raag, meend, gamak, etc. The understudy will also be given information about the laws of creating a raag, as well as the various jaati of a raag. This course will teach students the two documentation approaches of North Indian classical music: the Pt. Vishnu Digambar Paluskar strategy and the Pt. Bhatkhande strategy. As a result, during the exam, the understudy will be asked to write documentation of the taals learned, as well as the chhota khyaal bandish of five of the raags on the show syllabus. This course also includes a study of Pt. Vishnu Digambar Paluskar's life and works. There will also be a few questions about the hypothesis covered in previous courses on the composed examination.

From this course onwards, the student of vocal music should be able to sing solely with the tanpura and without the accompaniment of the harmonium. This course also introduces the student to the vilambit khyaal, as well as to the dhrupad style of music.

Swar: By the time the student reaches this level, he/she should have achieved the competence to recognise both shuddha as well as komal and teevra swars confidently.

Raag: The student will be taught a vilambit khyaal and a drut khyaal in Raags Kalyan, Bageshri, Bhairav and Bihag, and he/she will be expected to present the raag for around twelve minutes, using one’s own creativity to elaborate on the aalap, taan, and boltaan. Apart from this, the student will learn a madhya-laya bandish in Raags Hameer, Asavari, Shankara, Malkauns, Maand, and Deskar. The student should also be competent at recognising a raag from a signature group of swars. Also, the student will be introduced to two dhrupads, in one-to-one and double laya. In the exam, he/she might be asked to present 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: Apart from all the taals learnt previously, the student will be taught Ektaal and Chautaal in this course, and will be asked to show the taal in single as well as double tempo through claps with his/her hands.

Theory: In the written examination for this course, the student will be expected to compare the raags learnt from all aspects. He/she will also be taught to write the bols of the taals learnt, both in single tempo as well as dugun (double tempo). Also, the student should be able to write the notation of the drut bandish as well as the dhrupad in double tempo. This course also provides detailed information about dhrupad, dhamaar, vilambit khyaal, chhota khyaal, bhajan, etc, as well as basic information about folk music, light music and film music. The student is also expected to know about shadja-madhyam bhaav and shadja-pancham bhaav. Apart from this, he/she is given a brief overview of North Indian (Hindustani) classical music and South Indian (Carnatic) classical music. As part of definitions, the learner will be introduced to the finer points of naad, as well as ghaseet, jamjama, and murki. He/she will also be required to know the brief biography of Pt. V.N. Bhatkhande and Pt. Vishnu Digambar Paluskar, as well as the nuances of their notation methods.

From this course forward, the vocal music student should be able to sing just with the tanpura and without the accompaniment of the harmonium. This course introduces the student to the vilambit khyaal as well as the dhrupad style of music.

Swar: By the time the student reaches this level, he or she should have mastered the ability to reliably perceive both shuddha, komal, and Teevra swars.

Raag: The student will be taught a vilambit khyaal and a drut khyaal in Raags Kalyan, Bageshri, Bhairav, and Bihag, and he or she will be expected to perform the raag for around twelve minutes, using one's unique imagination to expound on the aalap, taan, and boltaan. Aside from that, the understudy will learn Madhya-laya bandish in Raags Hameer, Asavari, Shankara, Malkauns, Maand, and Deskar. The understudy should also be capable of identifying a raag from a signature collection of swars. Furthermore, the understudy will be introduced to two dhrupads in a one-on-one and twofold laya. During the exam, he or she may be asked to perform a bandish in Drut Ektaal as well as a tarana, bhajan, bhakti-geet, or natya-geet in any of the raags included in the syllabus.

Taal: In addition to the taals previously learned, the understudy will be taught Ektaal and Chautaal in this session, and will be asked to perform the taal in single and twofold rhythm using claps with his or her hands.

Theory: In the written examination for this course, the student will be expected to compare the raags learned from various perspectives. He/she will also be instructed to type in the bols of the taals learned, both in single beat and dugun (double rhythm). Furthermore, the understudy must be able to type in the documentation of both the drut bandish and the dhrupad in twofold rhythm. As well as important information on popular music, light music, and film music. The understudy is also expected to be familiar with practically all of the Shadja-madhyam and Shadja-pancham bhaavs. Aside from that, he/she is shown a quick schematic of North Indian (Hindustani) and South Indian (Carnatic) classical music. As part of the definitions, the learner will be introduced to the many meanings of naad, ghaseet, jamjama, and murki. He or she will also be expected to understand the brief histories of Pt. V.N. Bhatkhande and Pt. Vishnu Digambar Paluskar, as well as the nuances of their documentation tactics.

In the next two courses, the understudy will be expected to make extraordinary efforts to improve his or her execution abilities. He/she should be able to legitimately explain and demonstrate a bandish with aalap, taan, and bol-taan, while also making the execution both adjusted and distinctive. As the student progresses through the courses, his or her depth of knowledge is expected to increase. In this approach, even if the questions raised in all assist examinations are more or less the same, the student's skill in them is accumulated to increase with each succeeding level.

Raag: The understudy will be taught one vilambit khyaal / gat and one drut khyaal / gat from Puriya, Bibhas, Bhoop, Miya Malhar, Multani, Darbari Kanada, and Bilawal ragas. One of these vilambit khyaals must be set to Taal Tilwada. Aside from that, the understudy should be able to do 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 performed here should spark the student's creativity. Furthermore, the understudy must be prepared to execute two dhrupad, two dhamaar (at twofold, triple, and fourfold tempos), two taranas, and one chatranga or trivat. The trainee should also be familiar with thumri, natya-geet, bhaav-geet, dadra, and other forms of semi-classical music.This course covers Taals Tevra, Deepachandi, and Tilwada.

Theory: The understudy is expected to be able to compare several highlights of the raags on the syllabus. He/she should also be able to recognize the raag from a composed set of swars and grow it in a composed shape in the same manner. He or she should also be able to write documentation for the bada and chhota khyaals, the dhrupad and dhamaar featured in the syllabus, and the taals with total subtle aspects in both the Paluskar and Bhatkhande styles of documentation. The student will also be given information about various musical forms such as chatranga, ashtapadi, tappa, hori, and so on. Aside from that, he or she should be able to write a brief note on topics such as the thaat and raag framework, the advanced style of aalap gaayan, raag-lakshan (both ancient and unused), gaayaki-naayaki, jaati-gaayan, the three categories of raags and their classification according to time, the history of the raag-raagini framework, and so on. Composing a fundamental piece of music is also part of the educational curriculum for this course. In addition, the trainee should have a basic understanding of the styles of the most well-known performers and instruments, as well as the highlights of various built-up gharanas in classical music. In the composed examination, he or she will be asked to write a paper on topics such as social music, music and writing, contemporary issues in music, raag and rasa, and so on. The student should also be familiar with the lives and works 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.

Once this level is reached, the trainee is considered proficient in the field of music. He/she should be aware of the nuances of the many raags, have an autonomous comprehension, and, more importantly, be able to articulate and clarify this to the audience. Tuning one's claim instrument expertly is an angle with remarkable importance here. The understudy should also be able to perform several types of music such as dhrupad, thumri, and tappa in their appropriate style.

Swar: The trainee should be able to guzzle any composition sung or displayed in paperwork. He/she should be able to convert a composition into the gaayaki ang.

Raag: The understudy should be aware of the finer details of all raags. He/she should be able to write a few sargams and bandishes, as well as use aalap, taans, and bol-taans with meend, gamak, aandolan, and so on effectively in his/her introduction of the raag. Here, the rasa of the raag and the temperament of the bandish must be kept in mind. The understudy will be taught a vilambit, drut khyaal / maseetkhani, and rajakhani gat in the Raags Gaud Malhar, Gaud Sarang, Lalat, Shree, Purvi, Marwa, and Todi.These vilambit khyaals should be adjusted to specific taals such as Ektaal, Teentaal, Tilwada, and Jhumra. He/she should be able to perform these raags for up to thirty minutes. In addition, the understudy will be prepared to perform a madhya-laya bandish for up to fifteen minutes in Raags Jogi, Sindhura, Kafi, Tilang, and Sohoni. The understudy is also expected to perform a dhrupad and dhamaar composition in aad (offbeat), twofold, triple, and fourfold laya, as well as two taranas and one trivat. He or she will be asked to perform a few semi-classical shapes, such as thumri, natya-geet, dadra, or any other shape in a territorial language.

Taal: The understudy should be able to pronounce all of the taals learned thus far and say them in various laya. In addition, this course covers Taals Jhumra, Aada Chautaal, Dheema Tritaal, Dhamaar, Matta-taal, and Surfakta. The understudy should be able to speak and write thekas for various taals in difficult layas such as twofold, triple, four times, one and a half times, two in three, four in three, three in four, etc.

Theory: The understudy will be asked to type in a brief memoir 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, and others. There will also be discussions on topics such as the various types of khyaal-gaayan, the use of poetry in music, the similarities and differences between the Jaipur and Gwalior gharanas, a comparative look at Hindustani and Carnatic styles, etc. Aside from that, the student would be expected to have a thorough understanding of topics such as the old types 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, and so on. The trainee should be well-versed in all of the raags learned so that he or she can provide a detailed portrayal of the intricacies of all of the raags, type in his or her claim aalaps and taans, and demonstrate the similarities and contrasts between raags that are close to one other. The understudy should also be able to distinguish raags from complex written swar-arrangements. He/she is expected to type in aalaps with alpatva-bahutva, avirbhaav-tirobhaav, and observe how the shadow of different raags emerges via the aalap, as well as produce compositions of various types in the documented styles of Pt. Bhatkhande and Pt. Paluskar. Aside from this, the laws of symphony composition and information on tuning the disobedient, which are commonly used in symphonies, are also included in the teaching courses. He/she should also have detailed knowledge of the differences between the Hindustani and Carnatic taal frameworks, gram murchhana, several types of gamak, a brief history of music development, and advanced knowledge of the language learned in previous courses. The understudy should be familiar with the tanpura and will be asked to portray the different swars and shrutis that emerge from it.

Following a course of two years, the trainee will have developed a particular level of comprehension and execution. These two straightforward examinations will take place in a concert setting. As a result, in order for his or her performance to be outstanding, the understudy will need confidence and a good grasp of the craft of music.

Swar: The student is required to be capable of writing and reading paperwork in great detail. He/she should also be able to create unused compositions on the spot, as may be required during the assessment.

Raag: The understudy is expected to have in-depth knowledge of raags such as Gujri Todi, Maru Bihag, Shyam Kalyan, Shuddha Kalyan, Paraj, Nayaki Kanada, Devgiri Bilawal, and others. Aside from that, he or she will be tested on an overall comprehension of raags such as Bhairav Bahar, Kalavati, Abhogi, Basant Bahar, Chandrakauns, Hansadhwani, and so on. For the execution phase of the exam, the student may choose any one raag to be exhibited in detail, as well as a thumri, bhajan, or any other frame of semi-classical or light music. He/she should be aware of the complexity of bandish and taal, as well as compositions such as dhrupad-dhamaar, taranas, chatranga, and others in the raags mentioned for point-by-point consideration. The understudy should also have a variety of compositions that showcase the various types of singing or performing. It is expected to provide comprehensive information on practically all of the topics covered in the syllabus. As part of this, he or she should be able to discuss the issues at hand, create a comparative analysis of comparative raags, and so on for the written examination.

Taal: The student should be able to appear all of the commonly used taals in various laya, such as twice, three times, four times, one and a half times, one and one-fourth times, and so on. Theory - The understudy should be familiar with the history of Indian music and able to compare documentation methodologies. He or she should also be adept in a variety of musical styles and rebellious playing techniques. Aside from that, he or she should be able to explain the significance of shrutis and kan-swars in singing, as well as the properties of sound, swars, and the swar-octave sequence. He or she should also be aware of the tanpura's standards, various tuning processes,etc.

This is the final course. Subsequently, it examines how the understudy has absorbed the general musical climate. By this stage, the understudy should be proficient from all perspectives; he or she should be able to perform, understand, and explain both viable and hypothetical aspects of music. There will be two composed examinations at this level.

Raag: Some of the raags featured in the syllabus for this final exam are Shree, Gaud Malhar, Marwa, Ahir Bhairav, Bilaskhani Todi, Bhatiyar, and others. The understudy must choose one of these raags and be able to perform it in the air of a concert for around thirty to forty-five minutes, including a vilambit and a drut composition. He or she should also be able to perform in ragas such as Madhmadh Sarang, Madhuvanti, Jogkauns, Khambavati, Bihagda, Kukubh Bilawal, and so on. The understudy is expected to be able to type in the necessary documents for symphony, movement, and performance.

Theory: The student will be asked to make a comparative analysis of Hindustani and Carnatic music. He/she will teach about the importance of vocal preparation and voice culture. In the first created test, the understudy will be asked to give a detailed comparison of the various raags in the curriculum, as well as cutting-edge forms of melodic expression such as ensemble, playback singing, foundation music, film music, and so on.The trainee should also be able to set a piece of verse to music and adapt it to a specific raag and/or taal as needed. In the current test, the understudy will be asked to assess the construction of underused raags as well as mishra-raags (mixed raags). Furthermore, he or she is expected to have a thorough understanding of gharanas, their history, and the key craftspeople associated with each gharana. In this course, he or she will be asked to investigate the relationship between music and literature, dramatization, and movement, as well as raag-rasa and the time theory in relation to raags.