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North Indian Classical Music
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3 Sessions / 7 hours of work per session
Included w/ premium membership ($20/month)
Skill Level
Video Transcripts
Hindustani Classical Music, Raga, Vocal Music, Tabla, Theka
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North Indian Classical Music II: Raga Composition and Development

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Go at your own pace
3 Sessions / 7 hours of work per session
Included w/ premium membership ($20/month)
Skill Level
Video Transcripts
Hindustani Classical Music, Raga, Vocal Music, Tabla, Theka
Course Description

This course takes a student beyond the basic physical construction of the Raga and Tala, and helps understand the aesthetic principles, which are later used for development during a performance.

The course begins with a closer and more detailed look at the Raga, and explains the concepts of Chalan of a Raga, and the relative importance of musical notes used, through the Vaadi and Samvaadi swara. Later on, the course will explain the language of the Tabla, and how this is used to aesthetically structure the Awartan of the Tala. This also explains how the Tala is expressed as a Theka for a Khayal accompaniment.

The two frames of the Raga and the Tala come together to form the Bandish, the composition. The course explains the need for this, and how this happens, with a lyric also being included in the composition.

The continuous spectrum of the tempo of compositions, ranging from the slowest, the Vilambit, through the Madhya, on to the fastest, the Druta is explained through illustrations. We then go on to understand the internal structure of the Bandish, and how the Bandish becomes a tool for development during a performance.

In addition to quizzes and assessment exercises, this course also contains practice lessons to reinforce concepts that are discussed.

This course was developed in collaboration with Ragasphere and practical performance assignments are powered by MusicCritic.


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

Session 1: Raga: Internal structure and aesthetics (September 22, 2020)
Understand the concepts of Chalan of a Raga, and the Vaadi and Samvaadi Swara. Understand how the Poorvanga / Uttaranga division of the Saptak becomes the guiding aesthetic principle behind development.
19 lessons
1. Introduction
2. Chalan_Of_A_Raga_1
3. Chalan_Of_A_Raga_2
4. Chalan_Of_A_Raga_3
5. Vaadi_Samvaadi_1
6. Vaadi_Samvaadi_2
7. Chalan_-_Some_More_Ragas
8. Chalan_1_Female
9. Chalan_1_Male
10. Chalan_2_Female
11. Chalan_2_Male
12. Chalan_3_Female
13. Chalan_3_Male
14. Chalan_4_Female
15. Chalan_4_Male
16. Chalan_5_Female
17. Chalan_5_Male
18. Chalan_6_Female
19. Chalan_6_Male
Session 2: Tabla and the Structure of Tala (September 29, 2020)
Understand the internal structure and terminology of Tala. Understand the practical use of Tala as Theka for khayal development.
17 lessons
1. Introduction
2. Laya_As_Tempo
3. Structure_Of_Tala
4. Tabla_And_Its_Bols
5. Tala_And_Theka
6. Teentaal_Exercise_1
7. Teentaal_Exercise_2
8. Teentaal_Exercise_3
9. Ektaal_Exercise_1
10. Ektaal_Exercise_2
11. Jhaptaal_Exercise_1
12. Jhaptaal_Exercise_2
13. Roopak_Exercise_1
14. Roopak_Exercise_2
15. Variation_Exercise_1
16. Variation_Exercise_2
17. Variation_Exercise_3
Session 3: Bandish, the Composition (October 6, 2020)
Understand how the frames of Raga and Tala come together to form the Bandish, the composition, and how this becomes the platform for development. Understand the spectrum of tempo for compositions, from Vilambit to Madhya to Druta.
19 lessons
1. Introduction
2. Need_For_Bandish
3. Components_Of_A_Bandish
4. Development
5. Musical_Material
6. Sthayee_1_M
7. Sthayee_1_Female
8. Sthayee_2_Male
9. Sthayee_2_Female
10. Antara_1_Male
11. Antara_1_Female
12. Antara_2_Male
13. Antara_2_Female
14. Alaap_1_Male
15. Alaap_1_Female
16. Alaap_2_Male
17. Alaap_2_Female
18. Alaap_3_Male
19. Alaap_3_Female
Learning Outcomes

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

Instructors & Guests
What You Need to Take This Course

Prior Knowledge:

  • No prior knowledge of the subject, but an “ear for music”.


  • Windows or Mac desktop or laptop with a microphone and speaker/headphones.


  • Standard Browser (Chrome, Firefox, Safari, etc
Additional Information

Thank you for your interest in our course.

This is a unique course because it has a double purpose:

The program aims to provide an understanding of the basic concepts and structure of North Indian Classical Music, to students and performers of other genres of music, and help them explore it vocally or on their instruments. This program will also prepare students of Hindustani Classical Music, both vocal and instrumental, to pursue learning from a teacher or a Guru.

At the same time it has been conceived as a pilot course to test a new system of automatic assessment of music performance.

The Music Technology Group of the Universitat Pompeu Fabra (Barcelona, Spain) has built the Music Critic Technology. This technology aims to facilitate the learner's assessment, making it more automatic and less human-dependent, it facilitates the subjective assessment by teachers by means of computing objective similarity scores from examples given by the teachers.

Users under 18 years of age are not allowed to participate in this Course.

Kadenze is collaborating with Universitat Pompeu Fabra to test this new technology in this Course.

How does it work?

• You will be asked to upload into the Kadenze learning environment audio recordings for your exercises.

• Kadenze will code your identity and send your audio recordings (without your identifier information) to Music Critic for assessment.

• Music Critic will evaluate it and will store your audio recording indefinitely with the aim of improving Music Critic systems.

• Music Critic will send the assessment of your audio recording back to Kadenze's learning environment, and the teacher will validate it.

• The teacher will ask you to post your feedback on this new system through a survey to be filled out anonymously and send to the Music Technology Group.

• As in any other course you do not have to do all the exercises or complete the course, but Universitat Pompeu Fabra would very much appreciate if you collaborate with us on this pilot.

• You may contact Oriol Romani ( for any further information

By registering to this course YOU CONSENT:

• Your coded audio recording (without personally identifiable information) will be sent to Music Critic systems (Universitat Pompeu Fabra - Spain) for analysis and evaluation purposes.

• Your coded audio recording can be stored indefinitely in Music Critic systems with the purpose of improving the Music Critic technology.

The Music Critic automatic assessment of your audio recordings will be sent back to Kadenze's learning environment to be reviewed and validated by the teacher of your course.

Your anonymous feedback on the automatic assessment system will be sent to Music Technology Group.

By registering to this course YOU CERTIFY that you are 18 years of age or older.

YOU CONSENT to have your audio recordings licensed with a Creative Commons License with the aim that the Music Critic audio recordings database could be used by others:

• Public Domain Creative Commons License (

• Attribution 4.0 Creative Commons License ( ) ONLY in this case, Kadenze will send your audio recordings to Music Critic system with your first name and surname, so that you can be given appropriate credit.