Class duration is 2 hours per session and frequency is once a week on Saturdays / Sundays
Methodology followed in Sangeet Sadhana
Fingering Techniques of improving or modifying the quality of sound production in order to increase the aesthetic effects are emphasised. Some of these embellishments are kana or grace notes, kampan or tremor, krintan or pizzicato , zamzama, midh or portamento or glissandi, Ladi( quick tremolo strokes) are taught with fine detailing in order to appreciate the subtleties involved in playing Sitar. Similar ornaments also exist in the case of Sarod but involve slightly different techniques, since the latter does not have frets.
It is very important to understand the String instrument playing styles that exist :
Razakhani baj or Purab ( or eastern ) baj – This style is propagated by Ghulam raza a musician at the court of Wajid Ali shah at Lucknow . The Razakhani gat employs not only the da ra and the dir strokes but also the rda strokes, the opposite of dir where the outward stroke if followed by the inward in quick succession.
Today in present day contemporary performances we see that there are convergence of different styles, both the gats are practised using various taals, high degree of stylizations ( which is more systematic and intricate) have been introduced in the original patterns by our guru here in Sangeet Sadhana.
In Sangeet sadhana Gata ( vilambit and drut gat )compositions with khayal gayaki aanga are taught following a particular sequence which is broadly as i) sthayi, (manjh), Antara ii) dugun tan, iii) jhala with tan and tihai. We follow the traditional aalap-jod-jhala-gat sequence. Instrumental renditions either follow the tantkari ang or the gayaki ang.
Our String instrument teaching style follows Maihar Gharana ( Baba Allaudin Khan gharana), with considerable vocal influence. It uses both khayal gayaki style and dhrupad ang in the rendition. Our Guruji is from Maihar Gharana and usage of all forms of taans like chhut and sapat tans , phirat, diri-diri tans , dhrupad style gamak tas are practised here with finer detailing and demonstration.
Basic Level (6 months)
Handling instrument and sitting posture.
Fingering techniques and hand movement .
Improving or modifying the quality of sound production .
Practice of Moorchana , sapat and Paltas .
Classification of different music instruments.
Intermediate level (2.5 years)
“Use of Embellishments like kana or grace notes, kampan or tremor, krintan or pizzicato ,
zamzama, midh or portamento or glissandi, Ladi( quick tremolo strokes) are taught with fine detailing”
Introducing to the various playing styles.
Playing various vilambit and drut compositions of ragas and understanding the Gats and techniques associated
understand the instrumental renditions of mastered musicians which helps in acquiring musical craftsmanship of high order.
Advanced Level (5 years)
“Gaining Mastery over the instrument ,
and understanding and rendering compositions modified to suit the artistic capability of the individual”
Convergence of Styles in contemporary performances.