HINDUSTHANI MUSIC (VOCAL) SYLLABUS
First Year – Level 1 – Theory

PART – A

I. Definitions and Explanations of the following:
1. Sangeet, Swar-shuddha – Vikrut (Teevra-Komal)

2. Aroha, Avaroha, Pakad, Varjyaswar, Alankar

3. Sapatak-Mandra, Madhya, Tar.

II. Definitions and Explanations of the following:
1. Matra, Tal, Vibhag, Sam, Tali, Khali, Theka, Bol

2. Avartan

3. Laya-Vilambit, Madhya, Drut laya Thaha, Dugun, Chougun laya

III .Knowledge of names of the Ten Thaats of Hindus – Shanti Music.

IV. Knowledge of writing the description of the following Talas with their bols
1) Keharwa 2) Dadra 3) Ektal, 4) Teental

PART – B

I. Knowledge of writing Alankars

II. Ability to write Keharwa, Dadra, Ektal and Teental in Thaha and dugun laya.

III. Description of the following Ragas:
1) Yaman 2) Bilawal 3) Khamaj 4) Kafi 5) Bhoopli 6) Bhairav

IV. Ability to write Notations of Sargam with their Swara and Tala signs in all the prescribed
ragas

V. For all the six years (Certificate and Diploma Course) Pandit Vishnu Narayan Bhat
khande
Swara notation and Tala system should be followed.

First Year – Level 1 – Practical

1. This year’s training will chiefly aim at imparting sound Swara -Gnana, laya gnana and
Talagnana

II. Elementary Swaragnana with Alankaras, should be made to sing with Tabla
accompaniment to get basic laya and Talagnana. At least one alankar each should be made to sing in Keharwa,
Dadra, Ektal and Teental.

III. Special attention be given to correct Voice production.The shuddha swara aroha, avaroha
and simple alankaras should be made to sing in ‘Akar’.

IV. A Sargam in each of the prescribed ragas.

V. Three Lakshangeets in any of the prescribed ragas.

VI. Drut Khayal in each of the prescribed ragas.

VII. A Drut Khayal with Alaap and Taan in any one of the prescribed
ragas.

VIII. Recitation of Thekas of the prescribed Talas viz :
Keharwa, Dadra, Ektal and Teental.

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HINDUSTHANI MUSIC (VOCAL) SYLLABUS
Certificate Course
Second Year- Level 2 – Theory

PART – A

I. Nad – its qualities (Magnitude, Pitch, Timbre)

II. Definitions and Explanations of the following
Shruti, Swarasthan, Saptak (Mandra, Madhya, TarN Saptak) Alankar, Vakraswar, Varna

III. Thata, Rag.

IV. The difference between Thata and Rag – explanation thereof.

V. Sthayi, Antara, Sanchari, Abhog – Parts of Song.

VI. Laya-Vilambit, Madhya and drut laya, Thaha, dugun, Trigun, Chougun etc.,

VII. Vadi, Samvadi, Anuvadi, Vivadiswar, Varjaswar,

VIII. Explanation of : Graha, Ansha, Nyas swar, Meend, Alap Kanswar, Alap, Taan

PART – B

I. Explanation of different forms of Musical Compositions
1) Sargam, 2) Lakshangeet, 3) Drut Khayal ]

II. Knowledge of writing Drut Khayal in notation in all the prescribed ragas.

III. Description of Jhaptal, Choutal, Roopak and Teevra talas and apart from those learnt in
first year.

IV. Description of Ragas – Yaman , Bhupali, Brindavani Sarang, Bhairav and Asavari.
Certificate Course

Second Year – Level 2 – Practical

I. A Drut Khayal with and ten in each of the following Raagas
1) Yaman 2) Bhairav , 3) Bhupali, 4) Brindabani Sarang

II. A Sargam and drut Khayal in Raag Asavari and Bhimpalasi

III. A Lakshangeet in each of the following Raagas viz.

IV. Dhrupad in Thaha laya in any of the raagas prescribed in either first or second year.

V. Tarana in any of the prescribed Raagas

VI. One Bhajan to be taught

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HINDUSTHANI MUSIC (VOCAL)
Certificate Course-Third Year – Level 3 – SYLLABUS
THEORY
PART – A

I. Explanation of Raag – Jati, the nine types of Rag Jati – a sturdy in detail.

II. Brief notes: Shuddha – Chhayalag – Sankirna Rag. Purva Raag, Uttar raag, Purvangi Vadiraag , Uttarang Vadi raag,
Ashray raag, Sandhi Prakash raag.

III. Graha, Ansha, Nyasa swara – its importance in relation to ancient music.

IV. Time Theory of Raag.

PART – B

I. Description of Raagas prescribed for this year.
1) Kedar, 2) Bihag, 3) Bageshri 4) Des) 5) Hameer

II. Description of Talas – Deepchandi, Sooltal and Dharmar in addition to the Talas learnt in First and Second Years.

III. Ability to write Vilambi Khayal and drut Khayal in notation as per the ragas prescribed

THIRD YEAR – Level 3 – PRACTICAL

I) A vilambit and Drut Khayal along with alaap and Taan in each of the following raagas, should be made to sing
with Tabla accompaniment.

II) Yaman 2) Kedar 3) Bihag 4 ) Bageshri.
II. Drut Khayal with alap – tan in the following Raagas

III) Desh, 2) Hameer
III. Lakshangeets in any two of the prescribed raagas.

IV. Tarana in any of the prescribed raagas

V. A Dhrupad along with its dugun laya in any of the presecribed raagas.

VI. A Dhamar composition in any of the prescribed raagas

VII. One Bhajan to be taught.

VIII. Recitation of the bols on hand in the following Taalas.
1) Deepchandi 2) Sooltal 3) Dhamar

IX The different musical compositions should be made to sing repeatedly with Tabla accompaniment.

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HINDUSTHANI MUSIC (VOCAL)
Fourth Year – Level 4 – Syllabus
THEORY
PART – A

I. The evolution of 72 Thaats(melakartas) as explained by Pandit Venkatamakhi

II. the basic Ten Thatas of Hindusthani Music and their swaras, Pandit V.N. Bhatkhandeji’s contribution in this
regard.

III. The detailed study of the evolution of Raagas out of the Thaat ( a parantal scale)

IV. A comparative study of the Samaprakrutik Ragas – an over view from first of fourth year’s prescribed raagas.

V. A detailed explanation of time theory of Raga.

VI. The special chararacteristics of sandhi prakash Raag.

 PART – B

I. Description of the prescribed ragas with their aroha, Avaroha and pakad.
1) Malkauns 2) Bhimpalasi 3) Jaunpuri 4) Sohani 5) Tilak Kamod 6) Bhairavi

II. Description of the following Talas:
1) Tilwada 2) Adachoutal

III. A comparative study of the Talas having equal number of matras.

IV. Ability to write notation of vilambit and drut Khayals in
the prescribed ragas.

V. A brief life sketch of Pandit Vishnu Narayan Bhatkhandle and Pandit Vishnu Digambar Paluskar, Their contribution
to Hindustani Classical music.

Level 4 – Practical

I. Vilambit and Drut Khayal with gayaki in each of the following ragas
1) Malkauns 2) Bhairav, 3) Bhimpalasi 4) Jaunpuri

II. A drut khayal in each of the following ragas
1) Sohani 2) Tilak kamod 3) Bhairavi

III. Lakshangeets in any two of the prescribed ragas

IV. One Dhrupad and one Dhamar(with dugun) in any of the prescribed ragas

V. Two Taranas in any of the prescribed ragas

VI. One Bhajan be taught.

VII. Description of the following Ragas.
1) Malkauns 2) Bhairav 3) Bhimplasi 4) Jaunpuri 5) Sohani 6) Tilak kamod 7) Bhairavi

VIII. Recitation of Bols and Thekas of Tilwada and Adachoutal

IX. A thorough revision of all the Ragas and Talas learnt during the four years

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