Bhav Sangeet Junior Diploma 3rd Year Syllabus In English
Bhav Sangeet
Practical
(1). Special advancement in swar knowledge. Proper practice of shudha and vikrit swars of all the three Saptak. Sing and recognize difficult swar groups.
(2). Knowledge of mixing Tanpura.
(3).Special advancement in lay knowledge, more clear and complete knowledge of Dugun, Tigun and Chaugun Lay.
(4).Full practice of some difficult Alankars in Todi, Marwa and all Thaats of previous years. This year special attention should be paid to the preparation and cleaning of the throat.
(5).Special practice of extracting Puravlagan kan, Anulagan kan, Khatka, Nishchit meend, Anishchit meend, Kan yukt meend and other types of Vishisht meend. The practice of removing Kampan, Murki, Dana, Danedar Tukda, Gitkiri and Gamak.
(4). Knowledge of Jaunpuri, Pilu, Tilak, Kamod, Kalingada, Sohni, Malkaush, Purvi, Tilang and Hameer, their swar detail and each Chota Khyal. In any of these four raags, Chota Khayal should be prepared with Alap, Taan and Simple Bol taan and in any one raag, Bada Khayal should be prepared with Alap, Taan etc.
(5). A beautiful bhajan or song in Jaunpuri, Durga, Peelu, Hameer. The voice should be composed according to the purity of the bhajan or songs and the purity of the raags.
(6).Practice of singing one Dhrupad in any one Raga of this year in Thah, Dugun, Tigun and Chaugun lay and a Tarana.
(7). Preliminary practice of singing the bhajans or songs given in the first and second year raags by composing them yourself.
(8). Practice of singing simple bol from Thumri organ in any one of Bhairavi, Kafi, Khamaj, Desh and Tilang.
(9). Practice of singing Lok geet skillfully.
(10) Bhajans of Sur, Meera, Tulsi, Kabir, Nanak, Brahmanand, Jugal Priya and other devotee poets and songs of aadhunik poets. Singing style level should be good from the point of view of expression.
(11).Knowledge of Deepchandi, Dhamar, Jat and Adha taals and recitation by tali their Thah,Dugun and Chuagun.
(12). Practice of playing the Theka of Teentaal, Dadra and Keharwa on the tabla.
(13). Raag recognition by difficult swar group.
Theory
(1).Complete description of Tanpura and Tabla and complete knowledge of combine them, width of Aadolan and its relation with small-largeness of Naad, Vibhajan of 22 Shrutis into seven shudha swar (aadhunik opinion), total definitions of first and second year More complete and clear definition of words, special rules of thaat and raag, subtle distinction between Shruti and Naad, mathematical composition of 72 thaats of Byankatmukhi and origin of 484 raags from one thaat , three classes of raags according to swar and time (Re.Dha komal raags, Re.Dha shudha raags and Ga Ni komal raags), sandhi prakash raags, merits and demerits of singers, types of taans (shudhaor simple, Detailed description of Koot, Mishra, Boltaan), Gamak, Aad, Sthai, Types of songs – Bada Khayal, Dhamar, Hori, Tappa.
(2).Complete introduction to the raags of the course, including swar vistar and taan.
(3). Complete introduction of all taal of this year and last year. Writing of their theka in Dugun, Tigun and Chuagun Lay. Knowledge of the method of finding out mathematically the starting point of a taal or song’s dugun etc.
(4). Writing the swarlipi of the songs. Writing Dhamar and Dhrupad in Dugun, Tigun and Chaugun.
(5). Raag recognition by difficult swar group.
(6).Comparison of Similar raags of the curriculum.
(7) Complete knowledge of Bhatkhande and Vishnudigambar swarlipi paddhati.
(8). Brief biographies of Sharangdev and Swami Haridas and introduction to their musical works.
(9) Distinguish between experimental forms of music like classical music, sentimental music and simple music.
(10). Full introduction of Deepchandi, Ghamar, Adha and Jat.
