Introduction to musical notes>
In Indian Classical Music Naad produces Shruti, which in turn produces musical notes (Swars). Naads are of two types.
1. Anahat Naad :- Naad produced without making any sound is called Anahat Naad. When you close your ears with your fingers. 'Ghan Ghan' sound is produced. Since it is produced without any stroke, it is called Anahat Naad.
2. Ashat Naad :- The sound that is produced by stroke, touch, friction, is called Aahat Naad. Music relates to this Naad and Musical Notes are produced from this Naad.
Difference between Swar and Shruti
Shruti means what you can only hear. The sound or Dhwani which you can hear is Shruti. Shruti when shown only by mingling of two notes in music and by touching is called Shruti; when there is pause in Shruti, and its sound is heard in steady manner, it is called 'Swar'.
Indian Music is based on 22 'Shrutis'. 'Swaras' are born from these 'Shrutis'. There are seven Swaras in Music- Sa, Re, Ga, Ma, Pa, Dha, Ni
Swaras are of two types-
(i) Komal Swaras - Komal Swaras are the ones which are higher or lower than the normal Swaras. These are also called 'Vikrit' notes.
(ii) Tivra (Pure) notes - Tivra means sharp. These notes are pure notes. But 'Ma' Swara is the only Komal Swara, which is called Pure. Tivra 'Ma' is Vikrit (Impure).
Except 'Sa' and 'Pa', all Swaras are Komal and Tivra. Sa and Pa are not Komal. These Swaras are stagnant; meaning thereby that sound doesn't to high or low. They are firm in their place.
| First Day | Introduction to musical notes:1. Komal Swaras, 2. Tivra Swara, Saptak:-1. Mandra saptak, 2. Madhya Saptak, Taar Saptak, Introduction to sings in Music-notations. | 5-7 |
| Western Notation | 8-11 | |
| Second Day | Holding the Sitar,method of wearing (Mijraab). Pictoral representation of keeping fingers, sitting position of men and women while playing sitar, Bols of Sitar, Tuning the Sitar. | 12-16 |
| Third Day | Method of playing Sitar. Various Swaras are produced by pressing the wire on the different portion of screen, meaning coordinating wires with Swaras, Sargams of pure notes which includes Aarohi and Avrohi for practicing. | 17-26 |
| Fourth Day | Introducing:-1. Thaat Bilawal, 2. Thaat Kalyan, 3. Thaat Khammaj, 4. Thaat Bhairav, 5.. Thaat Purvi, 6. Thaat Marva, 7. Thaat Kaafi, 8. Thaat Aasavari, 9. Thaat Bhairavi, 10. Thaat Todi. | 27-38 |
| Fifth Day | Introducing Raags-Jaati of Raags, Vadi Samvadi, 1. Raag Bilawal, 2. Raag Yaman, 3. Raag Khammaj, 4. Raag Kaafi, 5. Raag Aasavari, 6. Raag Bhairavi, 7. Raag Marva, 8. Raag Bahar, 9. Raag Kedara, 10. Raag Bhimpalasi, Gaten Raage, within Taal and matra 1. Gat Raag Bilawal, 2. Gat Raag Yaman, 3. Gat Raag Khammaj, 4. Gat Raag Kaafi, 5. Gat Raag Aasawari, 6. Raag Bhairavi, 7. Gat Raag Marva, 8. Gat Raag Bahar, 9. Gat Raag Kedara, 10. Gat Raag Bhimpalasi | 39-48 |
| Sixty Day | Practicing hit filmi-songs | |
| 1. Mai ni mai munder pe tere | 49 | |
| 2. Mai tujhko bhaga laya hun | 51 | |
| 3. Didi tera dewar diwana | 53 | |
| 4. Ai mere pyare watan | 55 | |
| 5. Dil to pagal hai | 57 | |
| 6. Sona kitna sona hai | 59 | |
| 7. Sandese aate hain humen tadpate hain | 61 | |
| 8. Babul ka ye ghar gori | 65 | |
| 9. Roop suhana lagta hai | 66 | |
| 10. Ye teri aankhen | 68 | |
| 11. Bajigar o bajigar | 69 | |
| 12. Hum tumse juda hoke | 71 | |
| 13. Mehandi laga ke rakhna | 73 | |
| 14. Ai mere watan ke logon | 75 | |
| 15. Koyal kuke huk uthai | 79 | |
| 16. Achha sila diya tune mere pyar ka | 81 | |
| Seventh Day | Filmi, Non-filmi Songs-Gazal-Bhajan etc. | |
| 17. Kaht ahai jokar sara jamana | 82 | |
| 18. Mera piya ghar aaya | 83 | |
| 19. Puchho jara puccho mujhe kya hua hai | 85 | |
| 20. Rang bares bhige chunar wali | 87 | |
| 21. Humko sirf tumse pyar hai | 88 | |
| 22. Chand si mehbooba ho meri | 90 | |
| 23. Tu chij badi hai mast mast | 92 | |
| 24. choo lene do najuk honthon ko | 94 | |
| 25. Ai meri johra jabin | 95 | |
| 26. Ye mere prem patra padhkar | 96 | |
| 27. Kis tarah jite hain | 98 | |
| 28. Wo dur ke musafir | 100 | |
| 29. Waqt se din aur raat | 101 | |
| 30. Ye do diwane dil ke | 103 | |
| 31. Ye do diwane dil ke | 105 | |
| 32. Kitna pyara tujhe | 106 | |
| 33. Bewafa yun tera muskurana | 109 | |
| 34. Ishque mein kya batayen ke dono | 111-112 |
|
|
From:
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.
|
Introduction to musical notes>
In Indian Classical Music Naad produces Shruti, which in turn produces musical notes (Swars). Naads are of two types.
1. Anahat Naad :- Naad produced without making any sound is called Anahat Naad. When you close your ears with your fingers. 'Ghan Ghan' sound is produced. Since it is produced without any stroke, it is called Anahat Naad.
2. Ashat Naad :- The sound that is produced by stroke, touch, friction, is called Aahat Naad. Music relates to this Naad and Musical Notes are produced from this Naad.
Difference between Swar and Shruti
Shruti means what you can only hear. The sound or Dhwani which you can hear is Shruti. Shruti when shown only by mingling of two notes in music and by touching is called Shruti; when there is pause in Shruti, and its sound is heard in steady manner, it is called 'Swar'.
Indian Music is based on 22 'Shrutis'. 'Swaras' are born from these 'Shrutis'. There are seven Swaras in Music- Sa, Re, Ga, Ma, Pa, Dha, Ni
Swaras are of two types-
(i) Komal Swaras - Komal Swaras are the ones which are higher or lower than the normal Swaras. These are also called 'Vikrit' notes.
(ii) Tivra (Pure) notes - Tivra means sharp. These notes are pure notes. But 'Ma' Swara is the only Komal Swara, which is called Pure. Tivra 'Ma' is Vikrit (Impure).
Except 'Sa' and 'Pa', all Swaras are Komal and Tivra. Sa and Pa are not Komal. These Swaras are stagnant; meaning thereby that sound doesn't to high or low. They are firm in their place.
| First Day | Introduction to musical notes:1. Komal Swaras, 2. Tivra Swara, Saptak:-1. Mandra saptak, 2. Madhya Saptak, Taar Saptak, Introduction to sings in Music-notations. | 5-7 |
| Western Notation | 8-11 | |
| Second Day | Holding the Sitar,method of wearing (Mijraab). Pictoral representation of keeping fingers, sitting position of men and women while playing sitar, Bols of Sitar, Tuning the Sitar. | 12-16 |
| Third Day | Method of playing Sitar. Various Swaras are produced by pressing the wire on the different portion of screen, meaning coordinating wires with Swaras, Sargams of pure notes which includes Aarohi and Avrohi for practicing. | 17-26 |
| Fourth Day | Introducing:-1. Thaat Bilawal, 2. Thaat Kalyan, 3. Thaat Khammaj, 4. Thaat Bhairav, 5.. Thaat Purvi, 6. Thaat Marva, 7. Thaat Kaafi, 8. Thaat Aasavari, 9. Thaat Bhairavi, 10. Thaat Todi. | 27-38 |
| Fifth Day | Introducing Raags-Jaati of Raags, Vadi Samvadi, 1. Raag Bilawal, 2. Raag Yaman, 3. Raag Khammaj, 4. Raag Kaafi, 5. Raag Aasavari, 6. Raag Bhairavi, 7. Raag Marva, 8. Raag Bahar, 9. Raag Kedara, 10. Raag Bhimpalasi, Gaten Raage, within Taal and matra 1. Gat Raag Bilawal, 2. Gat Raag Yaman, 3. Gat Raag Khammaj, 4. Gat Raag Kaafi, 5. Gat Raag Aasawari, 6. Raag Bhairavi, 7. Gat Raag Marva, 8. Gat Raag Bahar, 9. Gat Raag Kedara, 10. Gat Raag Bhimpalasi | 39-48 |
| Sixty Day | Practicing hit filmi-songs | |
| 1. Mai ni mai munder pe tere | 49 | |
| 2. Mai tujhko bhaga laya hun | 51 | |
| 3. Didi tera dewar diwana | 53 | |
| 4. Ai mere pyare watan | 55 | |
| 5. Dil to pagal hai | 57 | |
| 6. Sona kitna sona hai | 59 | |
| 7. Sandese aate hain humen tadpate hain | 61 | |
| 8. Babul ka ye ghar gori | 65 | |
| 9. Roop suhana lagta hai | 66 | |
| 10. Ye teri aankhen | 68 | |
| 11. Bajigar o bajigar | 69 | |
| 12. Hum tumse juda hoke | 71 | |
| 13. Mehandi laga ke rakhna | 73 | |
| 14. Ai mere watan ke logon | 75 | |
| 15. Koyal kuke huk uthai | 79 | |
| 16. Achha sila diya tune mere pyar ka | 81 | |
| Seventh Day | Filmi, Non-filmi Songs-Gazal-Bhajan etc. | |
| 17. Kaht ahai jokar sara jamana | 82 | |
| 18. Mera piya ghar aaya | 83 | |
| 19. Puchho jara puccho mujhe kya hua hai | 85 | |
| 20. Rang bares bhige chunar wali | 87 | |
| 21. Humko sirf tumse pyar hai | 88 | |
| 22. Chand si mehbooba ho meri | 90 | |
| 23. Tu chij badi hai mast mast | 92 | |
| 24. choo lene do najuk honthon ko | 94 | |
| 25. Ai meri johra jabin | 95 | |
| 26. Ye mere prem patra padhkar | 96 | |
| 27. Kis tarah jite hain | 98 | |
| 28. Wo dur ke musafir | 100 | |
| 29. Waqt se din aur raat | 101 | |
| 30. Ye do diwane dil ke | 103 | |
| 31. Ye do diwane dil ke | 105 | |
| 32. Kitna pyara tujhe | 106 | |
| 33. Bewafa yun tera muskurana | 109 | |
| 34. Ishque mein kya batayen ke dono | 111-112 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
