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4 Sessions / 4 hours of work per session

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Micro-course ($25 USD)

Skill Level

Beginner

Video Transcripts

English

Topics

Composition, Performance, North Indian Classical Music

Not available for purchase in India

Open for Enrollment

Exploring North Indian Classical Music: Part 2 Appreciation

Would you like to enroll?

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

Enrollment has closed

Go at your own pace

4 Sessions / 4 hours of work per session

Price

Micro-course ($25 USD)

Skill Level

Beginner

Video Transcripts

English

Topics

Composition, Performance, North Indian Classical Music

Not available for purchase in India

Course Description

A performance of North Indian Classical Music becomes particularly mystical because of the element of improvisation.

This second part of the course, which we call Appreciation, helps you understand exactly what happens in a performance.

The course begins with how the basic concepts of the Raga and Tala are fused together to form the composition, which is then used as a tool to improvise and expand. We go on to look at the forms used for Vocal and Instrumental performance, viz. the Khayal and the Alaap-Jod-Jhala.

With the help of actual performances by professional artists, we then understand the process of improvisation, and how a performance is built.

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schedule

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

Session 1: Bandish - The Composition (April 24, 2024)

The composition formed together by the Raga and Tala, is called the Bandish. This Bandish serves as the platform for improvisation and development of the Raga during a performance. - We begin with the very basic question: Why do we need the Bandish at all? - We go on to look at the components of the Bandish and how it is constructed. - We then understand the meaning of development, and how the Awartan or the cycle of the Tala becomes the unit of development. - And finally, we take a look at the various musical material that an artist creates, for expanding and developing the Raga around the Bandish. The practice lessons in this session let us sing/ play along the Sthayee and Antara, and some basic alaaps in a Bandish.

19 lessons

1. Introduction.

2. Need For A Bandish

3. Components Of A Bandish

4. Development

5. Musical Material

6. Sthayee Exercise 1 (High Pitch, A)

7. Sthayee Exercise 1 (Low Pitch, D)

8. Sthayee Exercise 2 (High Pitch, A)

9. Sthayee Exercise 2 (Low Pitch, D)

10. Antara Exercise 1 (High Pitch, A)

11. Antara Exercise 1 (Low Pitch, D)

12. Antara Exercise 2 (High Pitch, A)

13. Antara Exercise 2 (Low Pitch, D)

14. Alaap Exercise 1 (High Pitch, A)

15. Alaap Exercise 1 (Low Pitch, D)

16. Alaap Exercise 2 (High Pitch, A)

17. Alaap Exercise 2 (Low Pitch, D)

18. Alaap Exercise 3 (High Pitch, A)

19. Alaap Exercise 3 (Low Pitch, D)

Session 2: Forms - Vocal And Instrumental Performance (May 1, 2024)

The form used by music defines the structure of a performance. North Indian Classical Music uses different forms for the purpose of presentation. - We begin the session with an overview of the evolution of these forms. - We broadly understand the most prevalent form for Vocal presentation, the Khayal. - We get within the structure of the Khayal, and understand the progression of the development. - We then take a closer look at the musical instruments used for performance, with particular attention to their musical capabilities. - Alaap -Jod- Jhala – Gat is the other form used by many instruments. We delve deeper into understanding the difference between the Bandish and the Gat. The practice lessons in this session let us sing/ play along the alaap and taans in a Bandish of Raga Bhoop.

26 lessons

1. 1. Evolution Of Forms

2. Khayal Form

3. Khayal - Structure

4. Musical Instruments : Capabilities

5. Alaap, Jod And Jhaala

6. Bandish And Gat

7. Bhoop Bandish 1 (High Pitch, A)

8. Bhoop Bandish 1 (Low Pitch, D)

9. Bhoop Bandish 2 (High Pitch, A)

10. Bhoop Bandish 2 (Low Pitch, D)

11. Bhoop Bandish 3 (High Pitch, A)

12. Bhoop Bandish 3 (Low Pitch, D)

13. Bhoop Bandish 4 (High Pitch, A)

14. Bhoop Bandish 4 (Low Pitch, D)

15. Bhoop Bandish 5 (High Pitch, A)

16. Bhoop Bandish 5 (Low Pitch, D)

17. Bhoop Bandish 6 (High Pitch, A)

18. Bhoop Bandish 6 (Low Pitch, D)

19. Bhoop Alaap 1 (High Pitch, A)

20. Bhoop Alaap 1 (Low Pitch, D)

21. Bhoop Alaap 2 (High Pitch, A)

22. Bhoop Alaap 2 (Low Pitch, D)

23. Bhoop Taan 1 (High Pitch, A)

24. Bhoop Taan 1 (Low Pitch, D)

25. Bhoop Taan 2 (High Pitch, A)

26. Bhoop Taan 2 (Low Pitch, D)

Session 3: Khayal And Development (May 8, 2024)

Going through an actual performance is perhaps the best way to understand how the development progresses, and the various musical material. We do exactly the same here, using a specially presented performance. - Part 1 focuses on the Alaap, both the short introductory one before the Bandish begins, and the one during the beginning of the Vilambit Khayal. - In part 2, we understand the Upaj and Badhat, the basic principles of development and progression. - We continue in the third part towards the Antara, and look at Behlava and Bols as the musical material. - The fourth part deals with the final musical material, the Taan. - Part 5 of the performance is the Madhya / Druta laya Bandish. The practice lessons in this session let us sing/ play along the alaap and taans in a Bandish of Raga Jog.

13 lessons

1. Khayal Performance 1

2. Khayal Performance 2

3. Khayal Performance 3

4. Khayal Performance 4

5. Khayal Performance 5

6. Jog Bandish 1 (High Pitch, A)

7. Jog Bandish 1 (Low Pitch, D)

8. Jog Bandish 2 (High Pitch, A)

9. Jog Bandish 2 (Low Pitch, D)

10. Jog Bandish 3 (High Pitch, A)

11. Jog Bandish 3 (Low Pitch, D)

12. Jog Bandish 4 (High Pitch, A)

13. Jog Bandish 4 (Low Pitch, D)

Session 4: Alaap, Jod, Jhaala And Gat (May 15, 2024)

To understand the other form, we use a specially performed Sitar presentation. - Part one of the performance explains the Alaap part. - We move on to the Jod in Part 2. - Part 3 covers the Jhala element of the performance. - Part 4 focuses on the Vilambit Gat. - Part 5 concludes with the Druta Gat. The practice lessons in this session let us sing/ play along the alaap and taans in a Bandish of Raga Malkauns.

15 lessons

1. Alaap Jod Jhaala 1

2. Alaap Jod Jhaala 2

3. Alaap Jod Jhaala 3

4. Alaap Jod Jhaala 4

5. Alaap Jod Jhaala 5

6. Malkauns Bandish 1 (High Pitch, A)

7. Malkauns Bandish 1 (Low Pitch, D)

8. Malkauns Bandish 2 (High Pitch, A)

9. Malkauns Bandish 2 (Low Pitch, D)

10. Malkauns Bandish 3 (High Pitch, A)

11. Malkauns Bandish 3 (Low Pitch, D)

12. Malkauns Bandish 4 (High Pitch, A)

13. Malkauns Bandish 4 (Low Pitch, D)

14. Malkauns Bandish 5 (High Pitch, A)

15. Course 2 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.

Appreciation of Performance

Appreciate the performance of North Indian Classical Music.

Performance Practice

Develop experience in performing elements of North Indian Classical Music through practical exercises.

Instructors And Guests

Nitin Amin

instructor

nitin@ragasphere.com

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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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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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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Ravindra Chari

guest

Ravindra is one of the senior most disciples of Ustad Shahid Parvez.

He is an accomplished and popular Sitar player in India, and is known for his collaborative works with International musicians.

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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

We recommend that you take Part 1 - Exploring North Indian Classical Music: Part 1 Acquaintance - before enrolling in Part 2.

Open for Enrollment

Would you like to enroll?

Enrollment has closed

Exploring North Indian Classical Music: Part 2 Appreciation

Would you like to enroll?

Enrollment has closed

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

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