Bhav Sangeet Senior Diploma 4th Year Syllabus In English
Bhav Sangeet
Theory
(1). Detailed description of types of songs – Tappa, Thumri, Tarana, Tirvat, Chaturang, Bhajan, Geet and Ghazal. Raag-Ragini paddhati, method of vocal , Aadhunk Alap , description of different types of Taan, use of Vivadi Swar, Pracheen types of Nibaddh Gan (Prabandh, Vashtu etc.), Dhatu, Anibaddh Gan, Adhvadarshak swar.
(2).22 Vibhajan of shruti into swars (comparative study of Aadhunik and Pracheen beliefs), relation of the length of the stretched string with the height-lowness of the Naad.
(3).Chhayalaya and Sankirn raag, Parmel praveshka raag, Samay chkar of raags, Adhvadarshak swar in determining the samay of a raag, importance of Vadi-Samvadi and Purvaag-Uttrang, comparison of swars of southern and northern music paddhati.
(4). Composition of 32 thaats from the notes of North Indian Saptak, pracheen names of aadhunik thaats, Tirobhav, Aavirbhav and Alpatva ,Bahutva.
(5).Subtle comparative study of raags and raag identification.
(6). Comparative study of both Vishnu Digambar and Bhatkhande swarlipi. Practice writing songs in both swarlipi. Full practice of writing Dhamar and Dhrupad in Dugun, Tigun and Chaugun swaralipi.
(7) Biography of Bharat, Ahobal, Bynktamkhi and Mansingh Tomar and details of their musical works
(8).The method of finding out the place of starting Dugun , Tigun , Chaugun of all taals of the course by mathematics. Apart from Dugun, Tigun and Chaugun, the practice of writing different laykari in taallipi.
(9). Critical study of radio and film music and suggestions for their improvement.
(10). Essay – Classical and Bhav sangeet, Lok Sangeet, influence of classical music on film music, raag and ras, cooperation of different instruments in performance of sentiment, background music Thambahatvanak Danepbaddha etc.
Practical
(1). Complete study of all previous years’ syllabus. Pay special attention to the preparation and cleaning of the throat.
(2). Special advancement in vocal knowledge. Identification of difficult swar groups. Singing a song written in swarlipi and listening to a simple song and practicing swaralipi.
(3). Special practice of mixing Tanpura purely.
(4) Clap with the help of numbers or swaas to show different laykari, such as Dugun (2 in 1 Matra), Tigun (3 in 1 Matra), Chaugun (4 in 1 Matra), Aad (2 in 3 Matra) and Aad “ ulta (Matra 2 in 3).
(4).Difficult and more beautiful Alap and taunts to be removed from the throat. Complete practice of removing Meend, Kan, Khatka, Murki, Gitkiri, Gamak and other subtle movements etc. from the throat.
(5). Knowledge of the nature of Bahar, Patdeep, Todi, Jaijaywanti, Kamod, Darbari Kanada, Adana, Multani, Marwa, Kalingada, Kedar and Gaur Sarang, swar detail and one Chota khyal in each. In any four of these, preparations are made to sing with Alap,Taan, Boltaan from the mind, and in some two, one Bada Khyal. This year, there should be special preparation in Khayal singing, there should be special beauty and health in the mouth and speech.
(6) There should be one Dhamar and one Dhrupad in any two raags of this year and one Tarana in any raag.
(7) Practice of singing beautiful thumri in any two raags out of Desh, Pilu, Tilang, Khamaj and Bhairavi.
(8). Practice of singing Lok geet, Ghazals, Holi etc. efficiently.
(9). Preparation to sing other five bhajans and five aadhunik songs in soulful and high level style in addition to previous years.
(10). Practice of singing the given songs and bhajans beautifully according to their expressions by composing the swar yourself.
(11). Knowledge of creating beautiful relaxation and taan tukda for accompaniment of other instruments or Vrindvadan (Vatbimejtand) in any song or bhajan.
(12).Knowledge of Theka of Jhumra, Aad Chartaal, Sooltaal and Tilwada Taal and practice recitation in Thah, Dugun, Tigun and Chaugun by tali them. Practice of playing the Theka of Ektaal, Chartaal, Jhaptaal, Deepchandi on the tabla.
(13). Raag recognition by short and difficult Tukda.
(14). To show equality and diversity in Samprakrtik raags by singing.
(15). Practice of proper swar and taalbaddh of a given lyrical poem or song.
