Hindustani Classical Music or North Indian classical music is said to be evolved in Northern parts of India in 13th & 14th centuries A.D. and it finds its origin in Vedas which are the oldest scriptures in the Hindu tradition. The description of music, in particular, has been given in detail in Samaveda (Saman means “melody” and Veda means “knowledge”).

Hindustani music is traditionally much elaborated, expressive and practice-oriented. The success of its presentation mostly depends on the improvisation techniques and therefore, varies from one artist to the other. Hindustani music is taught mostly through oral presentation from a Guru (teacher) to a Shishya (student) under the Guru-Shishya parampara or the Teacher-Student tradition.

Technically, Hindustani music system is based on 7 notes termed as "Sa Re Ga Ma Pa Dha Ni Sa" in order, just like the Western Classical Music.  However, according to Indian musicologists and music maestros, these seven notes are originated from nature especially from the sounds of animals and birds. For example: Sa (Sadhaj) – Peacock, Re (Rishav) – Skylark, Ga (Gandhar) – Goat, Ma (Madhyam) – Dove, P (Pancham) – Cuckoo, D (Dhaivat) – Horse, Ni (Nishad) – Elephant.

Indian Classical Music is so rich that every human emotion, every restrained feeling in man and nature can be musically expressed and experienced.

Fundamental Components:                         

Hindustani Classical Music is based on two important components called Râga and Tâla.

Râga: The word “Râga” has no equivalent in English and is difficult to explain without practical demonstration. However, it can be considered as one of the melodic modes used in Indian classical music. A particular Râgauses a set of at least 5 notes out of the seven notes of an octave and each Râga has its own mood like love, humour, pathos, anger, heroism, terror, disgust, wonder or serenity. These are the Nava Rasas or nine basic emotions, fundamental to most of the Indian art forms.

When an artist performs a particular Râga, he not only sings the compositions as it is but also elaborates the Raag with creative imagination of his inner sprit to improvise it. The artist tries to establish a unique relationship between melody and rhythm which can satisfy both the performer as well as the listeners. There are several different Râga based on ten Thaats. Examples of some Râga are Bhupali, Yaman, Durga, Kafi, Malkauns, Khamaj, Asavari etc.

Tâla: Tâla is the rhythmic counterpart to Râga. Literally Tâla in Sanskrit as well as in Hindi means clapping. Since, rhythm is an inborn attribute of humans; therefore, it is possible that Tâla is more ancient in Indian music than Râga and its mention can be found in the ancient Bharatha's Nâtya Shastra. Tâla are nothing but Rhythm or more specifically rhythmic structures or patterns roughly corresponding to metre in Western music. There are many pre-defined Tâla in Indian music and any Indian music when written or composed is set to a particular Tâla. Each Tâla has a cycle, divided into equal beats called ‘boles’ (which are but sounds of Indian percussion Tabla or Mrindagam). Examples of some common and mostly used Tâla are Teen Tâla / Tri Tâla, Jhap Tâla, Dadra, Kehrawa etc.

Over All Course Structure:

• Introduction to Hindustani Classical Music.
• Introduction to Swara / Notes.
• Voice Culture/ Vocal Warm up techniques through simple vocal exercises.
• Practice of Alankaars.
• Basic Tâla / Rhythm Patterns in Hindustani Classical Music.
• Learning of different Râga through elaborate study and practice.
• Assignment for the students.