Overview:

Tabla is regarded as the queen of drums and percussion instruments and is the most popular Indian Rhythm Instrument. Playing this instrument involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds and rhythms. Apart from being available online we at Ajivasan conduct Instrumental Music Courses & Classes in Mumbai and Instrumental Music Events & Workshops In Mumbai.

  • Certification: Prayag Sangeet Samiti
  • Twice A Week Class
  • Class Duration: 1 Hour
  • Semester Duration: 6 months

Sem 01:

  • Description of Tabla and its origin
  • Introduction to all basic Tabla Bol
  • Playing of Tabla Bol and recognition of its sound


Sem 02:

  • Meaning of Taal
  • Meaning of Kayda
  • Meaning of Laya


Sem 03:

  • Knowledge of Taal,Dadra, Teentaal & Keherwa
  • Vilambit Ttheka of Teentaal
  • Two Qayade with four Palte each: Tit & Tirkit

Sem 101:

  • Laya Gyan: Knowledge of rhythemic speed
  • Demonstrating Taal with hand signals – marked bars & playing on the tabla
  • Learning & playing the Tthekas of Teentaal, Jhaptaal, Ektaal, Chartaal & Dadra both in basic and double tempos
  • Theory topics:
    Knowledge of 10 VARN of the Tabla, Complete familiarity with Taals & Tthekas of the Taals prescribed, write the Taal according to Vishnu Digambar or Bhatkhande system of notation, both in the basic & double speed, specifying beats, bars, Sum, Khali and Taali, etc.
 

Sem 102:

  • Two easy Qayade with four Palte each
  • Two Mohara
  • Two Tihai
  • Two easy Tukure in Teentaal
  • Theory topics:
    Notations of Tukure, Paran & Mohre
    Definition & knowledge of the following terms:
    Taal, Maatra, Laya ( Vilambit, Madhya & Drut Laya)
  

Sem 103:

  • Two different Qayade with four Palte
  • Two short Tukure in each Jhaptaal, Ektaal & Chartaal
  • Some variation in Dadra Taal
  • Theory topics:
    Defination and knowledge of following termts:
    Vibhaag, Sum, Taali / Bhari, Khaali, Avartan, Tthaah, Dugun, Chaugun, Ttheka, Bol, Qayada,
    Palta, Tihai, Mohara, Mukhra, Tukra, Qismein (Varieties)


Sem 201:

  • Laya Gyan: Demonstrating basic, double & quadruple speeds on the Tabla
  • Playing of Ttheka of Roopak, Sool taal, Tivra, Deepchandi, Keherwa & Tilwara Taal on the tabla & reciting the Tthekas with clap, no-clap, - marked bars in basic and double & quadruple tempo.
  • Barring Keherwa, two Mukhre, two Tihai & two easy Tukre in these Taal. Theka variations in Keherwa Taal
  • Theory topics:
    Definitions with comments on Sound, Kinds of Sound, Origin of Sound
 

Sem 202:

  • Two difficult Qayade with four Palte each, different from the ones of the 1st Level
  • One easy Rela, Ttheka variations
  • One presentable Mukhra
  • One easy Tukura, Uthan, Mohra, Tihai & Paran all in the Teentaal
  • Theory topics:
    Definition and knowledge of following terms: Uthan, Sangat, Solo performance (Swatantra – Vadan)
  

Sem 203:

  • One easy Rela, Ttheka variations
  • One easy Mukhra, Tukura, Uthan, Mohra, Tihai & Paran all in the Teentaal
  • Some varities of Theka in Jhaptaal, Ektaal & Chartaal with two presentable Mukhre, uthan, 2 Mohare, 2 Tiya & 2 Tukre
  • Two Qayade with two Palte each in Jhaptaal & Ektaal. Other varities of Dadra.
  • Biography of any famous Tabla player of the modern period
  • Significance of Tabla in Music


Sem 301:

  • Some advance knowledge of rhythmic speed clap – marked recital of double, triple, quadruple and Aad speeds, uttering digits of beats
  • Ability to tune the tabla
  • Elemententary practice in Sangat of Vocal songs
  • Special Attention on clarity and speed. Preparation of new and presentable Mukhra, Mohra, Tihais, Qayadas, Palte, Rele, Tukare, Parne Theka- varieties and easy gats in Teen-Taal
  • Definitions & topics:-
    *Sangeet, Gat, Aad, Baat, knowledge of parts of Mirdangam including the purpose of putting dough on one side, comparison of Tabla and Mridangam, their detailed history and the system of their tuning.
    *Various Baaj of tabla. Study of Jati, definitions of Tistra, Chatastra, Mishra, Khand & Sankeern Jati, Shruti, Swar, Kinds of Swar ( Chal, Achal, Shuddh, Vikrit)
    *Aaroh & Avroh
 

Sem 302:

  • New and nice Mukhre, Mohre, Tihai, Theka- varieties, Qayade – Palte, two Rela and two big Paran each in Jhap Taal, Ektaal and Chartaal ( No Qayade – Palte in Chartaal). Some good varieties of Ttheke and two Tihai each in Dadra and Keherwa Taal, Two new Mukhre, Mohre, Tihai, Tukre and Paran each in Sool Taal and Tivra Taal.
  • Study of the good and bad points of Tabla and Mridangam players as described in the Shastr
  • Knowledge of the parts of alphabets of Mridangam for Tabla student
  

Sem 303:

  • New – Taal: Aada Chartaal, Dhamar, Dhumali, Jhoomra, Jat – Ability to recite Ttheke of these Taal with clap-marked bars, also in basic, double and quadruple speeds and to play these Taal with clarity in the basic speed, on the Tabla. Ability to recite the Taal –Ttheke prescribed in the earlier years with clap-marked bars in the basic, double and quadruple speeds. Two Qayade, two Tukre, one Paran, two Tihai each in Aada Chartaal, Dhumali, Jhumra and Jat Taals have to be executed. Saath Sangat two tihais, two Paran and Lapet each have to be practised on the Mrindangam in Dhamar, Teevra and Sool Taal
  • Definitions & topics: Tistra
  • Brief biographies of Ustad Ahmadjan Thirkawa and Kanthe Maharaj
  • Essays on subjects allied


Sem 401:

  • Some advance knowledge of rhythmic speed clap – marked recital of double, triple, quadruple and Aad speeds, uttering digits of beats
  • Ability to tune the tabla
  • Technique of tuning the Tabla and practice in sangat in easy Taal of songs and Gat as also solo performance to the accompaniment of Lahra.
  • Teentaal Vilambit Theka
  • Teentaal Peshkar
  • Teentaal – Special finish & rapid performance of these Taal precribed earlier with some learning ahead , for example – presentable Theka varieties, Mukhra, Uthan, Tihais, Mohre, Qayade – Palte, Rele, Tukre, Parans, Gate, Chakkardar Tukde & Tihai of different beat-length.
  • Theory Topics:
    *Knowledge of recording notation of Taal prescribed this year and the years before alongwith various rhythmic speeds like double, triple, quadruple, Aad and Kuaad, etc. Candidates must be fully prepared with writing Taal notation of various kinds of Qayade, Tukde, Parans, etc. In accordance with the systems of both Pt. Bhatkhande andPt. Vishnu Digambar Paluskar.
    *Detailed and comapritive study together with all merits and demerits of the Taal-notation-system of both Pt. Vishnu Digambar and Pt. Bhatkhande.
 

Sem 402:

  • Jhaptaal Vilambit Theka
  • Jhaptaal Peshkar
  • Jhaptaal – Special finish & rapidperformance of these taals precribed in the earlier with some learning ahead , for example – presentable Theka varieties, Mukra, Uthan, Tihais, Mohre, Qayade – Palte, Rele, Tukre, Paran, Gat-types, Chakkardar Tukde & Tihai of different beat-length.
  • New Taal: Pancham Sawari, Tappa, Addha, Punjabi, Gaj-Jhampa, Matta, Ability to play Theke of these Taals in slow tempo (Vilambit) speed only and Vocally demonstrate the Taal-Theke with clap-marking
  • Theory Topics:
    *Ability to calculate starting points of double, triple quadruple, Aad and Kuaad, etc. Speeds in various Taal-Tthekas and recording those speeds in Taal-notation
 

Sem 403:

  • Ektaal Vilambit Theka
  • Ektaal Peshkar
  • Ektaal – Special finish & rapid performance of these Taal precribed in the earlier semesters with some learning ahead , for example – presentable Theka varieties, Mukhre, Uthan, Tihai, Mohre, Qayade – Palte, Rele, Tukre, Paran, Gat, Chakkardar Tukde & Tihai of different beat-length.
  • Sooltaal & Teevra Taal – some good Mukhre & Tukra
  • Theory Topics:
    *Comparitive study of Taal having the same number of beats
    *Detailed study of all terms defined in the earlier years together with their practical significance, also of Peshkar, Sath- Sangat


Sem 501:

  • High proficiency in Laya Gyaan. Practice in playing various Taals on the Tabla in very slow, medium and ultra fast speeds to the accompaniment of songs, Gats and Lahras. Knowledge of some difficult Layakaris and ability to demonstrate them orally with clap markings, such as 5 beats in 4 (1 ¼ times the baisc speed), Aad, Kuaad, Beaah. Skill in tuning the Tabla.
  • Shikhar & Brahma Taal: Telling clap – marked Thekas, playing them on tabla
  • Theory Topics:
    *Ability to record –Taal – notation of all prescribed Taal, Tukre & Paran etc. In all speeds.
    *Improviszation of new Tukras on varying beat lengths. Ability to calculate commencement points of various speed- movements.
 

Sem 502:

  • Special preparedness in playing the Taal precribed in the earlier years, on the Tabla or the Mridangam. Ability of presentable Solo performance on any of these two instruments.
  • Rudra & Laxmi Taal: Telling clap – marked Tthekas, playing them on tabla
  • Theory Topics:
    *Comments on Taan, Aalap, Jor, Jhala, Dhrupad, Dhamar, Khayal, Thumri, Tappa, Gats of instrumental music and their varieties like Maseetkhani and Razakhani Gat
    *Comparative study of Taal of even and odd matras (Sampadi & Vishampadi)
 

Sem 503:

  • Knowledge of the initial placement of the hand and its use on the Mrindanga is expected of Tabla students and vice – versa.
  • Gaj Jhampa Taal: Playing easy Tukre, Paran etc
  • Theory Topics:
    *Comparative study of various prevelant Taal – notation systems
    *Comparative study of Taals of identical number of beats


  • Sem 504:

    • Matt Taal: Playing easy Tukre, Paran etc
    • Knowledge of Sangat (accompaniment) with prevalent system of singing and various styles of playing string instruments.
    • Theory Topics:
      *Ability to write essays on topics, generally connected with music and Laya, Taal, Avanaddh Vadya


Sem 601:

  • TeenTaal, Jhaptaal & Ektaal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
  • Indepth practice of orally demonstrating various Taal and their Tukre in different rhythmic speeds, also with clap-marking
  • Theory Topics:
    *Comparative study of the study of Tabla-playing styles of various Gharanas of the Eastern & Western Baaj(Styles). Searching study of the styles of Sarvasri Kodau Singh, Khabbe Husain, Nana Panse & Parvat Singh. Difference between bols of the Tabla & Mridangam. Difference in the styles of Sath, solo playing and detailed account of their modes of performance. Art of Sangat. Suggestions for improvment in percussion instruments. Famous tabla players and their specialities. Relation between Swara and Laya. Place of Taal in Western Music along with Source-instruments of taal. Best system of Taal-notation. Study of western beat and rhythmic systems. Basic knowledge of the Western Taal System.
 

Sem 602:

  • Ada Chartaal, Dhamar, Pancham Sawari: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
  • Proficiency in solo-performance
  • Demonstration, both by clap makring and playing on the Tabla,T theke of Qaid-farodast, Kumbha
  • Theory Topics:
    * Knowledge of Chhand and Pingal Shastr
    * Definitions of Swara Vistar, Bol-Bant, Bahlawa, Chaturang, Tarana and Tirarvat
 

Sem 603:

  • Chartaal, Sooltaal & Gaj jhampa Taal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
  • Demonstration, both by clap makring and playing on the Tabla, Tthekas of Basant, Sawari Taal.
  • Detailed study of the taals precribed in earlier courses, cultivation of new, difficult and presentable Bol and Paran and ability to distinguish special compositions of different Gharanas in various Taal, are expected of the candidates.
  • Theory Topics:
    *Ability to write essays on general topics of music, Taal and Laya
    *Biographies of well known Tabla and Mridangam players and critical study of their styles of playing


  • Sem 604:

    • Tevra, Roopak & Lakshmi Taal: Basic knowledge of Solo demonstration in Taal prescribed for Mridangam. Solo performance of a high order.
    • Tuning of Tabla: .....
    • Learning some quality Mohre, Ttheka varieties of Taal prescribed in the 4th, 5th & 6th level
    • Theory Topics:
      *Detailed and comparative study of all definable terms and topics prescribed in the First to the Sixth Year courses
      *Study of and suggestions for popularizing less prevalent Taal prescribed in the first to the Sixth Year – courses
      *Complete knowledge of recording all the Taal prescribed in the earlier years alongwith other cultivated material, in accordance with Bhatkhande and Pt. Vishnu Digambar systems.
      *Comparative study of all Taals prescibed so far
      * Complete knowledge of notation of Taal in various rhythmic speeds
      * Comparative study of the North and South Indian Taal – system
      * Knowledge of the staff notation systems
      * Knowledge of some Bol and Tore of dance
      * Knowledge pf Sangat of different kinds of music on suitable percussion instruments


Get Started

Sitar, a variant of ancient string instrument Veena, developed into its present form in 18th century. It has become one of the most popular string-plucked instrument in India & abroad. Its resonance is the result of its gourd, 7+13 strings. This course is affiliated with PrayagSangitSamiti, Allahabad.


Course Details

6 levels of 12 months each, twice a week - one hour per session

Get Started
Overview:

Course is structured keeping in mind the level and age group of the student. Students learn to play musical pieces from all genres, develop a strong sense of pitch and rhythm, develop music reading abilities, and develop solo playing ability.

  • Certification:Trinity College London
  • Once A Week Class
  • Age Range: Above 7 years age
  • Class Duration: 1 Hour
  • Semester Duration: 12 - 18 months

  • C major A minor (choice of either harmonic or melodic or natural minor)
  • Pentatonic scale starting on C (5 notes)
  • C major contrary motion scale
  • Chromatic scale starting on D
  • Triad of C major and A minor (root position)
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • F and G major, D and E minor (candidate’s choice of either harmonic or melodic or natural minor)
  • Pentatonic scales starting on G and F (5 notes)
  • Chromatic scale in contrary motion starting on D
  • C major contrary motion scale
  • Triad of F and G major, D and E minor (root position and first inversion)
  • Chord of F7 and G7 (root position and first inversion)
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Bb and D major, G and B minor (candidate’s choice of either harmonic or melodic or natural minor)
  • Chromatic scale in similar motion starting on Bb
  • Pentatonic scale starting on Bb and D (hands separately)
  • A harmonic minor contrary motion scale
  • Triad of Bb and D major, G and B minor (root position, first and second inversions)
  • Chord of Bb7 and D7 (root position, first and second inversions)
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Eb and A major, C and F# minor (candidate’s choice of either harmonic or melodic or natural minor)
  • Chromatic scale in similar motion starting on Eb
  • Eb major contrary motion scale
  • Minor pentatonic scale starting on C and G
  • Triad of Eb and A major, C and
  • F# minor (root position, first and second inversions)
  • Chord of Eb7 and A7 (root position, first, second and third inversions)
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Ab and E major, F and C# minor (candidate’s choice of either harmonic or melodic or natural minor)
  • Chromatic scales in similar motion starting on Ab and E
  • Ab major contrary motion scale
  • Blues scale starting on C and G (straight and swung rhythm)
  • Triad of Ab and E major, F and C# minor (root position, first and second inversions)
  • Chord of Ab7, E7, Fm7 and C#m7 (root position, first, second and third inversions)
  • Chord of Ab+, E+, F°, C#°, F#°7, C#°7 (root position)
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Db and B major, Bb and G# minor (candidate’s choice of either harmonic or melodic or natural minor)
  • Chromatic scales in similar motion starting on Db and B
  • G harmonic minor contrary motion scale
  • Blues scale starting on F and A (straight and swung rhythm)
  • Chords of Dbmaj7, Bmaj7, Bbm7, G#m7,
  • Bbmmaj7, G#mmaj7, Db6, B6, Bbm6,G#m6
  • Perfect cadence in C, G and F major
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • D, F, Ab and B major
  • D, F, G# and B harmonic and melodic minor
  • Chromatic scales in similar motion starting on any black note
  • Major pentatonic scale starting on D and Ab (straight and swung rhythm)
  • Blues scale starting on D and E (straight and swung rhythm)
  • Triads of D, F, Ab and B major, D, F, G# and B minor in all inversions
  • Chords of D°, F°, G#°, B°, Dm7, Fm7, G#m7, Bm7, Dmaj7, Fmaj7, Abmaj7, Bmaj7 in root position only
  • Plagal cadence in D and F major
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • C, Eb, F# and A major
  • C, Eb, F# and A harmonic and melodic minor
  • Chromatic scales in similar motion starting on any white note major scale in legato thirds
  • Major pentatonic scale starting on Eb and A (straight and swung rhythm)
  • Blues scale starting on B and Bb (straight and swung rhythm)
  • Triad of C, Eb, F# and A major, C, Eb, F# and A minor in all inversions
  • Chords of C°7, Eb°7, F#°7, A°7, C+, Eb+, F#+, A+, C9, Eb9, F#9, A9 in root position only
  • Perfect and plagal cadence in A major and C minor
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Db, E, G and Bb major
  • C#, E, G and Bb harmonic and melodic minor
  • Chromatic scales in similar motion starting on any note
  • Chromatic scales with hands a minor third apart starting on Bb and Db
  • Major pentatonic scale starting on E and Db (straight and swung rhythm)
  • Blues scale starting on C# and G# (straight and swung rhythm)
  • Triad of Db, E, G and Bb major, C#, E, G and Bb minor in all inversions
  • Chords of C#°7, E°7, G°7, Bb°7, Dbadd9, Eadd9, Gadd9, Bbadd9, C#m7(b5), Em7(b5), Gm7(b5), Bbm7(b5) in root position only
  • Perfect, imperfect and plagal cadence in Bb major and G minor
  • 8- 10 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
Get Started
Overview:

Course is structured keeping in mind the level and age group of the student. Students learn to play musical pieces from all genres, develop a strong sense of pitch and rhythm, develop music reading abilities, and develop solo playing ability.

  • Certification:Trinity College London
  • Once A Week Class
  • Age Range: Above 7 years age
  • Class Duration: 1 Hour
  • Semester Duration: 12 - 18 months

  • Scales: C major & A minor - candidate’s choice of either harmonic or melodic or natural minor
  • Broken triad in C major and A minor

  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales: F and G major, D and E minor (candidate’s choice of either harmonic or melodic or natural minor)
  • Chromatic scale in contrary motion starting on D

    C major contrary motion

  • Broken chords (from memory) — the examiner will select from the following:
  • F and G major, D and E minor

  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales (from memory): Bb and D major, G and B minor (candidate’s choice of either harmonic or melodic minor)
  • Chromatic scale in similar motion starting on Bb

    C major contrary motion

  • Arpeggios (from memory): Bb and D major, G and B minor
  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales (from memory): Eb and A major, C and F# minor (candidate’s choice of either harmonic or melodic minor)
  • Eb major contrary motion scale

    Chromatic scale in similar motion starting on F#

  • Arpeggios (from memory): Eb and A major, C and F# minor
  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales (from memory): Ab and E major, F and C# minor (candidate’s choice of either harmonic or melodic minor)
  • E major contrary motion scale

    Chromatic scale in similar motion starting on B

    Chromatic scale in contrary motion starting on Ab

  • Arpeggios (from memory): Ab and E major & F and C# minor
  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales (from memory): Db and B major, Bb and G# minor (candidate’s choice of either harmonic or melodic minor)
  • G harmonic minor contrary motion scale

    Chromatic scale in similar motion starting on Db

    Chromatic scale in contrary motion, left hand starting on C and right hand starting on EAb and E major, F and C# minor (candidate’s choice of either harmonic or melodic minor)

  • Arpeggios (from memory): Db and B major, Bb and G# minor
  • Diminished 7th starting on B

  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales (from memory): Bb and D major, Bb and D harmonic and melodic minor
  • Chromatic scales in similar motion starting on Bb and D

    Chromatic scale in contrary motion starting on Eb

    C major scale in 3rds

  • Arpeggios (from memory): Bb and D major, Bb and D minor
  • Diminished 7ths starting on Bb and D

    Dominant 7ths in the keys of Bb and D

  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales (from memory): Ab and E major, G# and E harmonic and melodic minor
  • Chromatic scale in similar motion a minor 3rd apart,left hand starting on C and right

    hand starting on Eb

    E major scale in 3rds

  • Arpeggios (from memory): Ab and E major, G# and E minor
  • Diminished 7ths starting on Ab and E

    Dominant 7ths in the keys of Ab and E

    E major contrary motion

  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Scales (from memory): F#, Eb and B major, F#, Eb and B harmonic and melodic minor
  • Chromatic scales in similar motion starting on F#, Eb and B

    B major scale in 3rds

    C harmonic minor scale in 3rds

  • Arpeggios (from memory): F#, Eb and B major, F#, Eb and B minor
  • Diminished 7ths starting on F#, Eb and B

    Dominant 7ths in the keys of F#, Eb and B

    Eb major contrary motion

    F# minor contrary motion

  • 15 - 20 peices from syllabus / lesson book
  • Q & A session / Counselling
  • Presentation/ Assessments
Get Started
Overview:

Guitar Courses are structured keeping in mind the level and age group of the student. For beginner students, the courses start with the basics of handling the guitar, finger and hand strength, reading staff notation and theory and learning basic rhythm and pitch skills. As they progress, students are given the option of following international board examination curriculum and appearing for these examinations as well. Certification is from Trinity College London, internationally recognized & acclaimed course.

  • Certification: Trinity Rock & Pop
  • Once A Week Class
  • Age Range: Above 7 years age
  • Class Duration: 1 Hour
  • Semester Duration: 6 – 12 months

  • Produce a performance that demonstrates a basic foundation on their instrument and shows some interpretation
  • Perform audibly with a sense of enthusiasm and enjoyment and with some awareness of audience
  • Demonstrate that the foundations of a secure technique have been established
  • Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a performance that demonstrates preparation and the beginnings of interpretation.
  • Perform accurately and be able to create and convey mood to the audience
  • Show evidence of a basic familiarity with the fundamentals of instrumental/vocal technique.
  • Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.
  • Demonstrate an overall sense of performance with basic confidence and some capacity for audience engagement
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a performance that demonstrates preparation, understanding and the beginnings of thoughtful interpretation
  • Perform clearly and accurately and be able to create and convey mood to the audience
  • Show evidence of a technical command of the instrument/voice
  • Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.
  • Learn songs apart from the syllabus
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a performance that demonstrates careful preparation, understanding and the beginnings of thoughtful interpretation.
  • Perform clearly and accurately, with a sense of spontaneity and be able to create and convey mood to the audience.
  • Show evidence of a fluent technical command of the instrument/voice
  • Demonstrate a range of technical and musical abilities through either a quick study piece or an improvisation.
  • Learn songs apart from the syllabus
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a performance that demonstrates an understanding of the material, leading to a personal interpretation.
  • Perform clearly and with projection, supporting mood and character and engaging with the audience.
  • Show evidence of a basic exploration of and familiarity with the fundamentals of instrumental/vocal technique.
  • Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.
  • Learn songs apart from the syllabus
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a performance that demonstrates a sound understanding of the material, leading to a personal and imaginative interpretation
  • Perform confidently with projection, control and engagement with the audience
  • Show evidence of consistent application of developing technical skills and sound production
  • Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.
  • Learn songs apart from the syllabus
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a secure and sustained performance that demonstrates a stylistic awareness and mature grasp of the material
  • Perform with confidence and a sense of ownership and self-awareness that engages the audience wholeheartedly
  • Show familiarity with the full compass of the instrument/voice and use some advanced techniques
  • Demonstrate a range of technical and musical abilities through either a quick study piece or improvisation.
  • Learn songs apart from the syllabus
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a secure and sustained performance that demonstrates a sensitive stylistic interpretation
  • Perform with confidence and a sense of ownership and self-awareness, which engages the audience
  • Show familiarity with the full compass of the instrument/voice and employ advanced techniques
  • Demonstrate a range of technical and musical abilities through either a quick study.
  • Learn songs apart from the syllabus
  • Q & A session / Counselling
  • Presentation/ Assessments
  • Produce a secure and sustained performance that demonstrates a discriminating and sensitive personal interpretation
  • Perform with confidence and a sense of authority and control that engages the audience wholeheartedly
  • Show familiarity with the full compass of the instrument/ voice and employ advanced techniques with even control across all registers
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Violin is taught by experienced teachers keeping in mind the level and skills of the student. Beginner students are trained in handling the violin and correct posture while playing, bow control, left and right hand coordination, intonation, general finger strength and theory. This course is affiliated with PrayagSangitSamiti, Allahabad.


Course Details

6 levels of 12 months each, once a week - one hour per session

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Harmonium is an instrument that is indispensable in India and that is used in the religious field, in classical music, in folklore. Air is pumped into an enclosed space by means of bellows. Harmonium is widely used in accompanying classical vocal music, semi-classical forms, ghazals, bhajans, its also used by many musicians and composers as the instrument of choice for musical support while composing new tunes.


Course Details

6 levels of 12 months each, once a week - one hour per session

Get Started