Prayag Sangeet Samiti – First Year (Prarambhik) Vocal Syllabus
1. Theory (Lekhank)
Definition and explanation of:
Sangeet (Music)
Naad (Sound)
Shruti (Microtones)
Saptak (Octave)
Swara (Note) – Shuddha, Komal, and Tivra
Alankar (Patterns)
Raga and its characteristics
Taal and Laya (Rhythm and Tempo)
Mela system (Parent scales)
Brief introduction to:
Ten Thatas (Thaats)
Time theory of ragas
Different types of Sangeet: Shastriya (Classical), Sugam (Light), and Lok Sangeet (Folk)
2. Practical (Abhyas)
Alankars (at least 5):
Practice in Shuddha Swaras
Simple patterns for voice training
Basic Ragas (Any 3 of the following):
Raga Bhupali
Raga Yaman
Raga Durga
Raga Kafi
Raga Khamaj
(Each raga includes: Aroh, Avaroh, Pakad, Chhota Khayal or Sargam Geet with Taal)
Tal (Rhythm Cycles) Practice:
Teen Taal (16 beats)
Dadra (6 beats)
Keharwa (8 beats)
Jhaptal (10 beats)
(Practice with hand movements and recitation – Taali-Khaali)
Voice Culture Exercises:
Sa Re Ga Ma vocalization
Basic breathing and note-holding techniques
Bhajan or Folk Song:
1 Light classical or devotional song
Second Year
��� Theory (Lekhank / Written Paper)
��� Definitions and Explanations:
Alap
Taan
Meend
Gamak
Kan
Khatka
Murki
Sam
Vadi-Samvadi
Anuvadi & Vivadi
Aaroh, Avaroh, Pakad, Chalan
Poorvang & Uttarang
��� Understanding of:
10 Thaats (Bilawal, Kalyan, Kafi, Bhairav, Bhairavi, Asavari, Todi, Marwa, Khamaj, Purvi)
Classification of Ragas based on time
Classification of Ragas by Jaati (Audav, Shadav, Sampurna)
Knowledge of Tanpura and its tuning
Basic understanding of musical forms: Dhrupad, Khayal, Tarana, Thumri (introductory level)
��� Practical (Abhyas / Performance Paper)
��� Ragas – (Any 4 of the following, including 1 from previous year):
Raga Bhimpalasi
Raga Bihag
Raga Kafi
Raga Alhaiya Bilawal
Raga Desh
Raga Yaman (from previous year if not covered)
(Each Raga should include: Aroh, Avaroh, Pakad, Chalan, Chhota Khayal with basic Alap and Taan in appropriate Taal)
��� Taal Practice:
Teen Taal (16 beats)
Dadra (6 beats)
Keharwa (8 beats)
Jhaptal (10 beats)
Rupak (7 beats)
(With hand gestures, recitation, and simple compositions like Bandish or Bol-Alap)
��� Other Practical Elements:
Alankar practice in different swara patterns
Sargam Geet in any one Raga
1 Bhajan / Light Song or Folk Song
Simple Taan and Alap practice in selected ragas
Third Year
This year builds on the foundation of the previous two years, introducing more detailed raga development, medium tempo compositions, and theoretical depth.
��� Theory (Lekhank / Written Paper)
��� Definitions and Explanations of:
Alankar – Types and purpose in Riyaz
Lakshan Geet
Alap – Types (Sthayi, Antara)
Taan – Types (Bol Taan, Sapat Taan, Koot Taan, Mishra Taan)
Gram, Murchhana, and their relation to Raga development
Concept of Thaat-Raga relationship
Voice Culture – Basics of vocal training and resonance
��� Knowledge of:
Detailed explanation of Raga Lakshan
Notation writing and reading (Bhatkhande system)
Forms of Hindustani Music: Dhrupad, Khayal, Thumri – introduction to their structure and singing style
Time Theory of Ragas – deepening understanding
Description and usage of musical ornaments (Meend, Gamak, Khatka, Murki, etc.)
��� Practical (Abhyas / Performance Paper)
��� Ragas – (Any 5 of the following, including 2 from previous years):
Raga Bageshree
Raga Deshkar
Raga Kedar
Raga Malkauns
Raga Bihag
Raga Bhairav
Raga Yaman (if not yet covered deeply)
(Each Raga should include: Aroh, Avaroh, Pakad, Chalan, Lakshan Geet or Chhota Khayal, and full Chhota & Madhya Laya Khayal with simple Alap, Taan, and Bol Taan in Teen Taal or Jhaptal)
��� Taal Practice:
Teen Taal (16 beats)
Ek Taal (12 beats)
Rupak (7 beats)
Dadra (6 beats)
Keharwa (8 beats)
(Practice with recitation, hand beats, and application in bandishes)
��� Additional Practical Requirements:
1 Lakshan Geet in any Raga
1 Bhajan / Light Classical Composition
Simple Bandish with Improvisation (Alap, Bol Alap, Taan) in at least 3 Ragas
Demonstration of Voice Culture Exercises
Tuning of Tanpura (basic understanding)
Fourth Year
The Fourth Year focuses on in-depth raga development, medium and slow tempo Khayals, and introduces advanced theory and semi-classical forms.
��� Theory (Lekhank / Written Paper)
��� Definitions and Concepts:
Shruti – Detailed understanding
Types of Ragas:
Audav
Shadav
Sampurna
Classification of Ragas based on time, jaati, and nature (vakra, chhayalag, etc.)
Taan – All types in detail (Sapat, Koot, Mishra, Bol-taan)
Forms of Hindustani Music:
Dhrupad
Dhamar
Khayal
Tarana
Thumri (basic characteristics and differences)
��� Additional Theoretical Study:
Important Gharanas of Hindustani Music and their contribution
Structure and characteristics of Khayal Gayaki
Tala System – Layakari (simple and dugun), Sam, Tali, Khali, Avartan
Notation writing of bandishes with taals (Bhatkhande system)
Basic biography and contributions of great musicians like Tansen, Vishnu Narayan Bhatkhande, and others
��� Practical (Abhyas / Performance Paper)
��� Ragas – (Any 6 of the following, including 2 from previous years):
Raga Hameer
Raga Shuddha Sarang
Raga Jaunpuri
Raga Darbari Kanada
Raga Bihag
Raga Malkauns
Raga Deshkar
Raga Kedar
(Each Raga should include: Aroh, Avaroh, Pakad, Chalan, Chhota and Bada Khayal with Alap, Bol-Alap, Taan, and Bol-Taan in Vilambit and Madhya Laya Taals like Teen Taal or Ektaal)
��� Taal Practice:
Teen Taal (16 beats)
Ek Taal (12 beats)
Jhaptal (10 beats)
Rupak (7 beats)
Dadra (6 beats)
Chautal / Dhamar (14 beats – basic awareness)
(Demonstrate with hand movements, recitation, and application in compositions)
��� Additional Practical Requirements:
1 Dhrupad or Dhamar Composition in any Raga
1 Tarana in medium tempo (Madhya Laya)
1 Bhajan or Light Classical Composition (e.g., Dadra, Thumri)
Basic Voice Culture & Riyaz Techniques demonstration
Tuning of Tanpura
Sixth Year (Visharad Part 2 / Final Year)
This is the final year of the Visharad (Graduate) level, equivalent to a Bachelor’s degree in music. It focuses on mastery in raga presentation, creative improvisation, theoretical maturity, and concert-level performance skills.
��� Theory (Lekhank / Written Paper)
��� Advanced Theoretical Concepts:
Raga: Advanced analysis and classification – Jaati, Thaat, Samay, Arohi-Avrohi differences
Types of Ragas: Upang, Bhashang, Kriyanga
Chalan, Pakad, and Lakshan – Comparative study of similar Ragas
Layakari: Types – Dugun, Tigun, Chaugun, Aad, Kuad, Biyad, Tihai, Chakradhar
Taan and its types – Koot, Sapat, Mishra, Gamak, Bol-taan
Forms of Music: Evolution and characteristics – Dhrupad, Dhamar, Khayal, Tarana, Tappa, Thumri
Elements of Music: Naad, Shruti, Swara, Saptak, Laya, Taal
Notation writing of complex bandishes (Bhatkhande system)
��� History & Biographies:
Life and contributions of:
Pt. Omkarnath Thakur
Ustad Bade Ghulam Ali Khan
Ustad Amir Khan
Pt. Bhimsen Joshi
��� Practical (Abhyas / Performance Paper)
��� Ragas – (Any 8 ragas, including 3 from earlier years):
Raga Marwa
Raga Puriya
Raga Puriya Dhanashree
Raga Lalit
Raga Bageshree
Raga Jaijaivanti
Raga Shankara
Raga Bhairavi
Raga Malkauns
Raga Yaman
(Each Raga must be presented with full treatment: Vilambit and Madhya Laya Khayal, Alap, Bol-Alap, Sargam, all types of Taans, and Layakari patterns)
��� Taal Practice:
Teen Taal
Ek Taal
Jhaptal
Rupak
Dadra
Chautal
Dhamar
(Layakari with all variations and Tihai usage)
��� Other Practical Requirements:
1 Dhrupad or Dhamar Composition with Layakari
1 Tarana with complex Taan and Sargam
1 Light Classical (Sugam Sangeet): Thumri, Dadra, Bhajan, or Tappa
Demonstration of Voice Culture Skills
Tanpura tuning (manual or electronic)