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Go at your own pace
5 Sessions / 4 hours of work per session
Price
Micro-course ($25 USD)
Skill Level
Beginner
Video Transcripts
English
Topics
Raga, Tabla, Swara & Saptak, Laya & Tala

Not available for purchase in India

Open for Enrollment

Exploring North Indian Classical Music: Part 1 Acquaintance

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Enrollment for this course has closed. But you can enroll in a future offering (please select)

Enrollment has closed

Go at your own pace
5 Sessions / 4 hours of work per session
Price
Micro-course ($25 USD)
Skill Level
Beginner
Video Transcripts
English
Topics
Raga, Tabla, Swara & Saptak, Laya & Tala

Not available for purchase in India

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Course Description

North Indian Classical Music is very firmly based on the concept of Raga, and presenting a Raga is the purpose of its performance. While Raga deals with the melodic element of music, the rhythm element is represented by another uniquely Indian musical concept, the Tala.


This first part of the course, which we call Acquaintance, aims at explaining these two basic concepts. 


Understanding of such abstract concepts is not really complete unless you experience these for yourself. The course, besides videos explaining the concepts, contains a series of practice exercises. You can sing or play along with these, to complete your experience. 


Whether you are a student or a performer of Indian or any other world music, or a listener curious to understand the basics, you should find the course helpful.

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schedule

This course is in adaptive mode and is open for enrollment. Learn more about adaptive courses here.

Session 1: Swara And The Saptak (April 24, 2024)
In this session, we explore the Indian Musical Scale, which consists of 7 musical notes, called the Swara. These have names, which are abbreviated to Sa, Re, Ga, Ma, Pa, Dh and Ni, and the scale they form is called the Saptak. - We begin with the Sa, the Tonic. - We go on to explore the Re, Ga, Ma and Pa. - Then go on to the Dh and Ni, and thus cover the whole Saptak. At each stage, we can experience the swara for ourselves, by singing or playing along with the practice exercises. These are the seven basic notes, called the Shuddha swara. Some of them can shift their positions, up or down. - The Sa and the Pa do not shift from their position. - The Re, Ga, Dh and Ni can have their shifted down. These are then called the Komal versions of these notes. - The Ma can shift up, when it is called the Teevra Ma. Again, we can sing/play along the practice lessons, and experience these for ourselves. Thus finally, at the end of the session, we are well conversant with the Indian Musical scale, with all of its 12 swara.
52 lessons
1. Introduction
2. 1. The Shadja - Sa
3. Practice The Sa (High Pitch, A)
4. Practice The Sa (Low Pitch, D)
5. Practice the Sa (Flute, E).mp3
6. 2. Pa, Ma, Ga And Re
7. Practice The Pa (High Pitch, A)
8. Practice The Pa (Low Pitch, D)
9. Practice the Pa (Flute, E).mp3
10. Practice The Ma (High Pitch, A)
11. Practice The Ma (Low Pitch, D)
12. Practice the Ma (Flute, E).mp3
13. Practice The Ga And Re (High Pitch, A)
14. Practice The Ga And Re (Low Pitch, D)
15. Practice the Ga and Re (Flute, E).mp3
16. 3. Dha. Ni, And The Full Saptak
17. Practice The Dha And Ni (High Pitch, A)
18. Practice The Dha And Ni (Low Pitch, D)
19. Practice The Dha and Ni (Flute, E).mp3
20. Practice The Full Saptak Slow (High Pitch, A)
21. Practice The Full Saptak Slow (Low Pitch, D)
22. Practice The Full Saptak Slow (Flute, E).mp3
23. Practice The Full Saptak Fast (High Pitch, A)
24. Practice The Full Saptak Fast (Low Pitch, D)
25. Practice The Full Saptak Fast (Flute, E).mp3
26. 4. Poorvanga And Uttaranga
27. 5. Komal Re And Ga
28. Practice The Komal Re (High Pitch, A)
29. Practice The Komal Re (Low Pitch, D)
30. Practice The Komal Re (Flute, E).mp3
31. Practice The Komal Ga (High Pitch, A)
32. Practice the Komal Ga (Low Pitch, D)
33. Practice The Komal Ga (Flute, E).mp3
34. 6. Komal Dha And Ni
35. Practice The Komal Dha (High Pitch, A)
36. Practice The Komal Dha (Low Pitch, D)
37. Practice The Komal Dha (Flute, E).mp3
38. Practice The Komal Ni (High Pitch, A)
39. Practice The Komal Ni (Low Pitch, D)
40. Practice The Komal Ni (Flute, E).mp3
41. 7. Teevra Ma
42. Practice The Teevra Ma (High Pitch, A)
43. Practice The Teevra Ma (Low Pitch, D)
44. Practice The Teevra Ma (Flute, E).mp3
45. Practice Exercise 1 (High Pitch, A)
46. Practice Exercise 1 (Flute, E).mp3
47. Practice Exercise 2 (High Pitch, A)
48. Practice Exercise 2 (Low Pitch, D)
49. Practice Exercise 2 (Flute, E).mp3
50. Practice Exercise 3 (High Pitch, A)
51. Practice Exercise 3 (Low Pitch, D)
52. Practice Exercise 3 (Flute, E).mp3
Session 2: Raga - The Concept (May 1, 2024)
Indian Classical Music is all about the Raga, and presenting a Raga is the purpose of a performance. In this session, we understand the basic concept of the Raga. - We begin with the very basic concept and start looking into how a Raga is formed. - We understand all the rules that apply to making of a Raga. We do this with the example of Raga Bhoop. We can get a good feel of the swara set, by singing/playing along with the practice patterns. - We briefly explore the possible combinations of the swara, that can make up numerous more Ragas. - We get to know a few more Ragas, and understand their construct, viz. Ahir Bhairav, Jog and Yaman. Again, the practice patterns help us experience these combinations better.
41 lessons
1. 1. Raga - The Concept
2. 2. Physical Construct Part 1
3. 3. Physical Construct Part 2
4. Practice Raga Bhoop Pattern 1 (High Pitch, A)
5. Practice Raga Bhoop Pattern 1 (Low Pitch, D)
6. Practice Raga Bhoop Pattern 1 (Flute, E).mp3
7. Practice Raga Bhoop Pattern 2 (High Pitch, A)
8. Practice Raga Bhoop Pattern 2 (Low Pitch, D)
9. Practice Raga Bhoop Pattern 2 (Flute, E).mp3
10. Practice Raga Bhoop Pattern 3 (High Pitch, A)
11. Practice Raga Bhoop Pattern 3 (Low Pitch, D)
12. Practice Raga Bhoop Pattern 3 (Flute, E).mp3
13. 4. Raga Possibilities
14. 5. Some More Ragas
15. Raga Ahir Bhairav Practice Pattern 1 (High Pitch, A)
16. Raga Ahir Bhairav Practice Pattern 1 (Low Pitch, D)
17. Raga Ahir Bhairav Practice Pattern 1 (Flute, E).mp3
18. Raga Ahir Bhairav Practice Pattern 2 (High Pitch, A)
19. Raga Ahir Bhairav Practice Pattern 2 (Low Pitch, D)
20. Raga Ahir Bhairav Practice Pattern 2 (Flute, E).mp3
21. Raga Ahir Bhairav Practice Pattern 3 (High Pitch, A)
22. Raga Ahir Bhairav Practice Pattern 3 (Low Pitch, D)
23. Raga Ahir Bhairav Practice Pattern 3 (Flute, E).mp3
24. Raga Jog Practice Pattern 1 (High Pitch, A)
25. Raga Jog Practice Pattern 1 (low Pitch, D)
26. Raga Jog Practice Pattern 1 (Flute, E).mp3
27. Raga Jog Practice Pattern 2 (High Pitch, A)
28. Raga Jog Practice Pattern 2 (Low Pitch, D)
29. Raga Jog Practice Pattern 2 (Flute, E).mp3
30. Raga Jog Practice Pattern 3 (High Pitch, A)
31. Raga Jog Practice Pattern 3 (Low Pitch, D)
32. Raga Jog Practice Pattern 3 (Flute, E).mp3
33. Raga Yaman Practice Pattern 1 (High Pitch, A)
34. Raga Yaman Practice Pattern 1 (Low Pitch, D)
35. Raga Yaman Practice Pattern 1 (Flute, E).mp3
36. Raga Yaman Practice Pattern 2 (High Pitch, A)
37. Raga Yaman Practice Pattern 2 (Low Pitch, D)
38. Raga Yaman Practice Pattern 2 (Flute, E).mp3
39. Raga Yaman Practice Pattern 3 (High Pitch, A)
40. Raga Yaman Practice Pattern 3 (Low Pitch, D)
41. Raga Yaman Practice Pattern 3 (Flute, E).mp3
Session 3: Laya And Tala - The Concept (May 8, 2024)
Besides the Raga, Tala is the other uniquely Indian musical concept, and the two together make up a performance. Just as the Raga is made up of the swara, it is the concept of Laya, which forms the basis of the rhythmic cycle of Tala. - We begin with understanding the basic concept of Laya, the punctuating of time. - We then go on to see how the cycle of Tala is formed. - We take the example of Teentala, the most abundantly used Tala cycle, and understand the concept. - We then go on to look at some more popularly used Tala cycles. The practice lessons here help you learn holding and dividing time.
8 lessons
1. 1. Laya - The Concept
2. 2. Laya To Tala
3. 3. Construct Of Teentaal
4. 4. Some More Talas
5. Practice Exercise 1
6. Practice Exercise 2
7. Practice Exercise 3
8. Practice Exercise 4
Session 4: Raga - Internal Structure And Aesthetics (May 15, 2024)
In this session, we delve deeper into the structure of the Raga, and look at the aesthetic elements. - We begin with understanding the concept of Chalan, which stipulates the melodic phrasing in a Raga. - Continuing with the example of raga Bhoop, we go on to see how the concept applies to this Raga. - The two most prominent swara in the Raga are defined as part of the Chalan, and these are called the Vaadi and the Samvaadi swara. We understand these and their relationship, as applied to raga Bhoop. - We then look at some more Ragas, and see how the Chalan works for them, continuing with earlier examples of Ahir Bhairav, Yaman and Jog. - The practice lessons in this session let you sing/play along with the phrases of these Ragas.
24 lessons
1. 1. Chalan Of A Raga 1
2. 2. Chalan Of A Raga 2
3. 3. Chalan Of A Raga 3
4. 4. Vaadi Samvaadi 1
5. 5. Vaadi Samvaadi 2
6. 6. Chalan - Some More Ragas
7. Chalan Practice Exercise 1 (High Pitch, A)
8. Chalan Practice Exercise 1 (Low Pitch, D)
9. Chalan Practice Exercise 1 (Flute, E).mp3
10. Chalan Practice Exercise 2 (High Pitch, A)
11. Chalan Practice Exercise 2 (Low Pitch, D)
12. Chalan Practice Exercise 2 (Flute, E).mp3
13. Chalan Practice Exercise 3 (High Pitch, A)
14. Chalan Practice Exercise 3 (Low Pitch, D)
15. Chalan Practice Exercise 3 (Flute, E).mp3
16. Chalan Practice Exercise 4 (High Pitch, A)
17. Chalan Practice Exercise 4 (Low Pitch, D)
18. Chalan Practice Exercise 4 (Flute, E).mp3
19. Chalan Practice Exercise 5 (High Pitch, A)
20. Chalan Practice Exercise 5 (Low Pitch, D)
21. Chalan Practice Exercise 5 (Flute, E).mp3
22. Chalan Practice Exercise 6 (High Pitch, A)
23. Chalan Practice Exercise 6 (Low Pitch, D)
24. Chalan Practice Exercise 6 (Flute, E).mp3
Session 5: Tabla And The Structure Of Tala (May 22, 2024)
In this session, we look deeper within the structure of the Tala, and see how the Tabla is used as the main percussion instrument. - The term Laya is also used to indicate the tempo of the rhythmic cycle. We begin with understanding the three basic tempos, the Vilambit, Madhya and Druta laya. - We then get within the cycle of the Tala, and understand all the related terminology. - The sounds produced by the Tabla are known as Bols. We look at various Bols that form the language of Tabla. - The Tala cycle when used for accompaniment of a vocal performance is known as Theka. We understand the difference between the Tala and Theka. - Practice lessons in this session help you learn to keep up the cycles of some popular Talas.
17 lessons
1. 1. Laya As Tempo
2. 2. Structure Of A Tala
3. 3. Tabla And Its Bols
4. 4. Tala And Theka
5. Teentaal Exercise 1
6. Teentaal Exercise 2
7. Teentaal Exercise 3
8. Ektaal Exercise 1
9. Ektaal Exercise 2
10. Jhaptaal Exercise 1
11. Jhaptaal Exercise 2
12. Roopak Exercise 1
13. Roopak Exercise 2
14. Variation Exercise 1
15. Variation Exercise 2
16. Variation Exercise 3
17. Course 1 Conclusion
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Learning Outcomes

Below you will find an overview of the Learning Outcomes you will achieve as you complete this course.

Musical Concepts
Become acquainted with the fundamental musical concepts of North Indian Classical Music
Practical Application
Gain experience of the musical concepts of North Indian Classical Music through practical exercises.
Instructors And Guests
Nitin Amin
Nitin Amin
instructor

Besides being a flautist in the tradition of North Indian Classical Music, Nitin is a passionate music educator and the co-founder of Ragasphere.

Nitin is an engineer by basic education, and a musician by chosen vocation. He spent the first 15 years of his working life as a marketing professional with a large MNC engineering company. Quitting his job to pursue his basic passion, music, as a performing flautist in Hindustani Classical Music, Nitin also obtained a Master's degree in music. 

His dedicated effort in developing his flute to overcome all limitations, allows him to explore Gayaki in its true sense on his instrument. He is very ably guided in his pursuit by the eminent musician duo Smt. Padma and Pt. Suresh Talwalkar.

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Sameehan Kashalkar
Sameehan Kashalkar
guest


Sameehan is the son and disciple of one of India’s most renowned vocalists, Pandit Ulhas Kashalkar. Born in such a richly musical atmosphere, he has been receiving training of the highest order from his celebrated father since a very young age, and now has established himself as one of the finest musicians of his generation.


He has given solo performances at various major music festivals in India and abroad, and is a recipient of many important awards.

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Yashaswi Sirpotdar
Yashaswi Sirpotdar
guest


At the age of 37, Yashaswi has already been learning for more than 2 decades from one of the masters of Khayal performance, Smt. Padma Talwalkar.


She has established herself as an artist of repute, with performances at many prestigious venues and conferences, and some important awards including the Sangeet Natak Academy award for young artists.

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Charudatta Phadke
Charudatta Phadke
guest


Charudatta is an accomplished and well known Tabla player, particularly known for his Dance accompaniment, and Tabla Solo performances.


He is one of the most senior disciples of Pandit Suresh Talwalkar.

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What You Need to Take This Course

Will to understand and learn!


You could be a student of Music, any kind, or a performer of any other kind of music keen to know more about North Indian Music, or a curious listener of North Indian Classical music.....


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