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The student has completed HV408 at the academy OR the student has learnt Hindustani Vocal for at least 10 years. The student needs to fulfill the pre requisites set by the academy.
The three Ragas in this course, Nayaki Kanada, Kalavati and Madhuvanti will not just be explored with their distinctive characteristics in mind, the concept of Taals and Bandhishes will also be researched deeply through these Ragas. Nayaki Kanada, with its Vakra and typical phraseology, has a popular Bandhish that is sung both as a Vilambit and as a Drut Bandhish. How does the Taal impact the lyrics and vice versa? How does this kind of flexibility compare with the well coded suitability of certain Taals for particular Bhavas in the Karnatik music tradition? Using another popular Drut Khayal Bandhish in Kalavati, this course will investigate how the Taal fits the lyrics – could that be set in another Taal and sound equally effective? Students will attempt to compose Bandhishes in a Taal that is different from their traditionally set composition in Madhuvanti. Interviewing well known Laya experts and percussionists, students will compile opinions on the matter of flexibility of Taal and Bandhish in Hindustani Music and arrive at their own conclusion. Theory- Principles of Laya and Taal, Concepts of improvisation in Tabla, Taal concepts in Carnatic Music, Kanada Ke Prakar