Ms Anindita Mukherjee -(Guru/Founder): +919900251018

Instrumental Music Classes in Bangalore

Hindustani Instruments (Hindustani Style)

Class duration is 2.5 hrs per session and frequency is once a week on Saturdays

String instrument

Sarod, Sitar, Violin, Mohan Veena

Methodology followed

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, meend 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

Mashid khan baj (12th beat pattern) or Delhi or Pachhwa (western) baj

Mashid khan a delhi sitar player composed several gat-s in various raga-s in which the raga melody was to be played in vilambit teental using fixed mirzab patterns involving both da and ra strokes as well as the combined diri (da +ra ) stokes in the same span of time. These gats were accomplished by toda-s which were extensions of the former, being basically melody lines which expanded on these gat-s and were interspersed with them. The first line of this gats begins on the 12th beat of the previous avartan, the first line consists of 2 similar halves and can be regarded as an eight beat pattern, diri da dir da ra da da ra played twice. There were many improvisations followed post Masit Khan like introducing bin techniques which exhibit the use of meend and zamzama techniques followed by blending elements of Dhrupad with khayal, by introducing alap in sitar and Sarod repertoire called jod.

Razakhani baj or Purab (or eastern) baj

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 Taans are practised here with finer detailing and demonstration.

Wind instrument

Bansuri ( long Flute ) – We use both classical and semi classical style of playing the flute .
Class duration is 2.5 hrs per session and frequency is once a week on Sunday.

Methodology followed

  • Fingering techniques used in playing flute, understanding the texture of the notes and their tonal quality.
  • Techniques to overcome the limitation by changing the scale through transposition or murchhana. This involves making another note Ma or Pa the tonic and thus changing the fingering pattern.
  • How to vary the breadth which the key to changing the octaves, understanding the different blowing techniques to obtain the wide musical change, techniques of tonguing, tatkari etc.
  • The jod and jhal are played by emphasising the rthythmic aspects by using a combination of tonguing and blowing techniques both.

Percussion instrument (Tabla)

Frequency is once a week for 1.5 to 2 hrs per session.

Methodology followed

Understanding the theka which thus provides the standard for the improvisations( uthan, peshkar, kayada, Rela, gat, Tihai, Tukda/chakradhar). Sound production style which is the quality and the techniques used . Rhythmic practices form the core of our teaching methodology here. We follow the traditional aalap-jod-jhala-gat sequence. Instrumental renditions either follow the tantrakari ang or the gayaki ang.

 Harmomium classes

Frequency – Once a week, 1.5 hrs Duration.

Methodology followed

  • Understanding the fingering techniques of improving, playing with ease .
  • Understanding the various scales.
  • Use of Harmonium both as a solo and accompanying mode( for vocalist).
  • Learn compositions specifically meant for harmonium, styled along with the lines of tantakari, i.e compositions tend to have lot of cut notes and high speed passages similar to that of a sting being plucked .
  • Developing more physical command over the instrument by playing difficult note patterns in amazing speed and bringing in the vocal or gayaki aang form .

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, meend or portamento or glissandi, Ladi( quick tremolo strokes) are taught with fine detailin.
  • 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.