Indian Vocal Music Classes Updates

1 aroh: sa re ga ma pa dha ni sa

 avroh: sa ni dha pa ma ga re sa

2 aroh: SaReGa ReGaMa GaMaPa MaPaDha PaDhaNi DhaNiSa

avroh: SaNiDha NiDhaPa DhaPaMa PaMaGa MaGaRe GaReSa 

▪️AROH means the assessing order of swaras

▪️AVROH means the descending order of swaras 

3 Aroh: SaReSaReGa ReGaReGaMa GaMaGaMaPa MaPaMaPaDha PaDhaPaDhaNi DhaNiDhaNiSa

 Avroh: SaNiSaNiDha NiDhaNiDhaPa DhaPaDhaPaMa PaMaPaMaGa MaGaMaGaRe GaReGaReSa

▪️ to learn and practice paltas are important beacuse 1st it is the ABCD of music and after learning to practice it beacuse it gives exercise to our throat!!

 Good Luck Keep Singing

Semi classical music will start with the basics of music. Semi classical isn't about or any music isn't about lessons and chapters. I'll not train you as you are studying music. My classes mainly focus on kids so I will train them according to their age.

First is the basics which includes the key notes of harmonium, scale, sur, taal definations.

Second starts with the Sargam, aakar, humming. 

Third starts with kharaj riyaz, low octave riyaaz.. 

And so on it will continue with the 13th scale practice. 

Rabindra sangeet

Bollywood songs

Ghazals

Open mic events 

Open mic training 

Naad is the base of all vibrations and much more than just frequency.

Aahat naad is whatever we hear, speak or sing; frequency of sound that we can hear.

And then there is Anhad naad (Anaahat naad), which we cannot hear.

Anhad Naad can be called as the energy vibration of our inner self or our soul (jeev, praan or atma. It may be different or the same yet relatable to Anhad Naad. Omkar or Onkar or just Om is the closest representation of Anhad Naad and a path in itself to achieve it, while Aahat Naad is just a reflection of it.

‘Sadhna’ of this Aahat Naad gives one a chance to achieve the Anhad Naad and knowing oneself completely.

“Aahat saadhi saadhi sukh paave

‘Anang Rang’ taako sahaj nis taare.

Anhad Naad antar goonje,

Aahat Naad taako prakash”

Composition by Acharya K.C.D. Brahaspati (Great Vaggeyakaar of his time).

Please connect for any kind of clarification or guidance if needed.

                                                          Note on Maraga- Desi Talas

1. Bharata’s Natya sastra contains detailed description of Tala Sastra. No List of Talas was given by Bharata. Various Talas were mentioned of course. 

2. 101 Talas were mentioned in Sangeeta Makaranda (Narada) and                                                                                        Sangeeta Samaya Sara (Parswadeva). 

3. Prominent Tala system is Ashtottara sata (108) Talas. 

4. Talas were divided into TWO groups – i) MARGA TALAS and ii) Desi Talas. This division is analogous to Marga –Desi  Sangeeta and  Marga-Desi  Ragas 

5. First Five Talas of ASHTOTTARA SATA TALAs  is grouped as MARGA TALAs.

            Rest of the 108 Talas are (105) DESI TALAs. 

6. The number of DESI talas was mentioned differently:

             Sangeeta Ratnakara      (Sarngadeva)(1203-1247 AD)  ----------------    120 Desi Talas

             Ragatala Chintamani     ( Poluri Govinda Kavi)(early 17^th Century AD) :  124

             108 Tala System    --------------------------                                        :  105   etc. 

7. MARGA TALAS, (first 5 of 108 Talas) are: CHACCHATPUTA, CHACHAPUTA, SHATPITAAPUTRIKA,

                                                                         SAMPADWESTIKA and UDGHATTA

             MATRAA GANA system is followed in Marga Talas. 

                        Marga Tala           Talangas:    

                                                  I

             1.  CHACHCHATPUTA:     88I8

              2. CHACHAPUTA        :        8II8

                                                           I

           3.SHATPITAPUTRIKA:       8I  88I8  

                                                 I       I

           4.SAMPADWESTIKA   :      88888

           5.UDGHATTA              :       888