Estimated Fees in India
₹ 500 to ₹ 600 per hour
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I am reaching out in reference to an inquiry you dropped on UrbanPro to learn Hindustani Classical Vocal music. A little about me - My name is Subodh Kumar Sharma. I come from a musical family in Gwalior - and have been classically trained in Gwalior & Kirana Gharana since childhood with more formal training in both vocal music & Tabla after I moved to Delhi from Pandit Vinod Pathak (Farukhaabad Gharana ), Ustaad Manju Khan (Ajrana Gharana), Late Pandit Ram Kishor Dasji Maharaj (Benaras Gharana). I hold a degree in Hindustani Vocal and Tabla from Prayag Sangeet Samiti, Allahabad - as do many of my students. I have been teaching Hindustani Classical Vocal and Tabla since 2003 - and have taught people from across ages - and have been lucky to cultivate long term personal connections with them. I have taught most of my students one-on-one as a home tutor with 1-2 classes per week, but happy to do online classes as well based on your preferences and convenience.
Have been teaching Tabla both offline as well as online. It just motivates me to see my students and friends learn and excel the art of Tabla.
Encouraged to start music by Father and Keyboard artist Mr K R Bhonsley. Started learning Mridangam under the guidance of renowned Mridangist Vidwan Vasudev Rao Mohite at the age of 11 years. Completed Carnatic junior in Mridangam. Learning Hindustani Tabla under the guidance of Late Vidwan Shankar Rao Gaikwad and and his son Vidwan Nagaraj Rao Gaikwad. Working as a Financial Analyst at Societe Generale. Achievements Represented Karnataka at the Rashtrapati Bhavan and performed in front of the Honorable President and Prime Minister of India in the year 2010. Represented India at the Indo-China Youth Festival held at China in the year 2010. Performed in various parts of Karnataka, Chennai, Andhra Pradesh, Tirupati and Delhi. Performed at the All India Radio and Shankara Channel. Accompanied various renowned Non-Percussion artists who include Vidwan Basavanagudi Nataraj, Vidwan Saxophone Manjunath, Vidwan Prashanth Iyenger and others. Performed with renowned Percussion artists who include Vidwan Ravi Shankar Sharma, Vidwan Ram Murthy and others. Accompanying singers of Art of Living for the past 10 years with Swami Suryapada (Chayanna), Sri Ravi Prakash ji, Sri Sandeep ji, Sri Pratap ji, Sri Yadav ji and other artists. Accompanied many young artists.Music Direction for drama written by Mr. Jayanth Kaikini. �¢?? Directed Music for many dramas and theme songs for college fests.
Sangeet Prabhakar from Prayag Sangeet Samiti. Learnt Tabla in Guru-Shishya parampara for 10 years. Certified artist of All India Radio and North Central cultural zone center. Five time all India competition winner of All India radio and Prayag Sangeet Samiti. Have done multiple shows. Proficient in teaching for many years.
I am a Indian classical trained and a qualified teacher. My specialisation is in vocals , tabla and keyboard playing. I have 15 years of extensive experience in teacher, and I have taught at leading schools for last 10 years.
I am a very well trained in the field of authentic Tabla playing of the Delhi Gharana. I have learnt the instrument under the guidance of Pt. Shubhash Nirvan ji, Pt. Vinod Pathak ji, Shri Suraj Nirvan ji, Shri Prashant Trivedi ji and many other great artists. I am having Masters digree in Music and Tabla from Delhi University and IKSV. I believe in the holistic learning of the instrument as I teach the practical lessons as well as theory and authenticity of the instrument.
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₹ 500 to ₹ 600
₹ 500 to ₹ 700
₹ 500 to ₹ 800
₹ 500 to ₹ 600
₹ 500 to ₹ 600
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Answered on 30/08/2019 Learn Music/Instrumental Music/Indian Instrumental Music/Tabla
Atanu Bikash Kanjilal
Tabla Trainer
It totally depends on the intention of a student and from whom he wants to take a lesson. You have to select your Guru as per your need, level, practising eligibility. On this context, the fees are depending. It may defer from Guru to Guru as well as students.
From my side, I am taking Rs. 500/- per class in a week, i.e. four days in a month amounting Rs. 2000/-
Answered on 18 Nov Learn Music/Instrumental Music/Indian Instrumental Music/Mridangam
Bhuvnesh Dutt
"MUSIC TEACHER WITH MORE THAN 4 YEARS OF EXPERIENCE"
Pakhawaj and Mridangam are both ancient Indian percussion instruments, but they have distinct differences:
*Physical Differences:*
1. Shape: Pakhawaj - cylindrical, Mridangam - barrel-shaped
2. Size: Pakhawaj - typically longer (25-30 inches), Mridangam - shorter (22-25 inches)
3. Material: Both - wood or fiber, but Pakhawaj often has a thicker shell
*Sound Differences:*
1. Tone: Pakhawaj - deeper, more resonant, Mridangam - sharper, more crisp
2. Pitch: Pakhawaj - lower pitched, Mridangam - higher pitched
3. Sonic range: Pakhawaj - wider dynamic range
*Playing Style Differences:*
1. Stroke patterns: Pakhawaj - emphasizes bold, powerful strokes, Mridangam - intricate finger movements
2. Syllable patterns (bols): Pakhawaj - uses distinct bols, Mridangam - uses more complex bols
3. Technique: Pakhawaj - focuses on palm strokes, Mridangam - emphasizes finger strokes
*Cultural and Musical Differences:*
1. Tradition: Pakhawaj - associated with Hindustani classical, Mridangam - associated with Carnatic classical
2. Region: Pakhawaj - originated in North India, Mridangam - originated in South India
3. Musical context: Pakhawaj - often accompanies vocal and instrumental music, Mridangam - integral to Carnatic music ensembles
*Other Key Differences:*
1. Tuning: Pakhawaj - tuned to a specific pitch, Mridangam - tuned to multiple pitches
2. Head material: Pakhawaj - often uses goat skin, Mridangam - uses cow skin or synthetic materials
These differences reflect the unique characteristics and roles of each instrument in Indian classical music traditions.
read lessAnswered on 18 Nov Learn Music/Instrumental Music/Indian Instrumental Music/Mridangam
Bhuvnesh Dutt
"MUSIC TEACHER WITH MORE THAN 4 YEARS OF EXPERIENCE"
Playing the mridangam poses technical, physical, and musical challenges:
Technical Challenges:
1. Complex finger movements and strokes
2. Intricate syllable patterns (bols)
3. Maintaining precise rhythm and timing
4. Mastering various tonal variations and dynamics
5. Coordinating left and right hand strokes
Physical Challenges:
1. Building finger strength, endurance, and dexterity
2. Developing calluses and protecting hands from injury
3. Maintaining proper posture and hand positioning
4. Managing fatigue during extended performances
Musical Challenges:
1. Understanding complex ragas and taal cycles
2. Developing musical expression and nuance
3. Improvising and responding to melodic instruments
4. Balancing accompaniment and solo playing
5. Adapting to different musical styles and genres
Practice and Performance Challenges:
1. Finding qualified teachers and guidance
2. Accessing quality instruments and maintenance
3. Overcoming stage fright and performance anxiety
4. Collaborating with other musicians and adapting to ensemble dynamics
Cultural and Traditional Challenges:
1. Preserving traditional playing styles and techniques
2. Innovating within established musical frameworks
3. Bridging cultural and generational gaps
4. Respecting lineage and guru-shishya parampara (teacher-student tradition)
By acknowledging these challenges, mridangam players can better prepare themselves for the dedication, hard work, and passion required to master this revered instrument.
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