FIRST STAGE SYLLABUS

Practical

Sarali Varsai,Jhanta Varsai,(Thara Stayi),Dhattu Varsai, Three Alankarams (Chathushra Jathi Rupaka Thaalam, Thisra jathi truputa talam,Chathushra jathi Eka Talam) Three Geethams (sri Gananatha,Gananatha, Kereya nee ranu) All these have to be sung in three speeds. ten slokams, One thiruppavai, One thiruppugzh, three keerthanas,

Theory

Svaram, Arohanam, Avarohanam, Dhathu, Maathu, Prakkruthisvaram, Vikruthisvaram, Poorvangam, Uttharangam, Geetham, life history of shri purandaradasar and shri thyagaraja swamigal

SECOND STAGE SYLLABUS

Practical

Alankaram (Chathushra Jathi Rupaka talam, Chathushra Jathi Matya talam, misra Jathi Jampha talam, kanda Jathi Ata talam) Three Geethams (Mohanam, Kalyani, Suddha Saveri) one lakshana geetham, Two Swarajathis, One Nottuswaram, Three Varnams [Mohanam, Sankarabharanam, Abhogi] Kritis in following Ragas: Hamsadhvani,khamas, sudhasaveri, mayamalavagowlai, mohanam, kedaram,two thevarams, Two divya prabhandams

Theory

Sangeetham, Nadham, sruthi, Swarasthanam, Saptha Thalam Kalam(prathama, dihthiya, Thrithiya), Samanyageetham, laskhsanageetham,Jathisvaram, Svarajathi, Varnam, Life history of shri muthuswamy Dhikshithar, Arunachala kavirayar, shri shyama sasthri, Gopalakrishna bharathiar, venkatamakhi and swathi tirunal maharaja

THIRD STAGE SYLLABUS

Practical

Varnams in Saranga, Saveri, Hamsadhvani & Vasantha Ata Tala Varnam in Sankarabharanam, Kritis in following ragas: Bilahari, Thodi, Bhairavi, Kamboji, Kalyani, Dhanyasi, Sankarabharanam, Panthuvarali & Madhayamavathi, one thillana. Each five in Thiruppavai and Thiruvembavai. One Ragamalika kirti, Two Dasapadams, two divyanama keerthanas, one pancharatna keerthana. RAGA ALAPANA AND KALPANA Svaram for: Mohanam, Hamsadhvani & Mayamalavagaulai.

Theory

Sthayi, graham, aksharakalam, Ragas(varieties of janakaragams and janyaragams), 35 Talas, Krithi,keerthana, sangathi, writing of notation, Raga classification in karnatic Music. The schemes of the 72 Melakarta Ragas: the names of the 12 chakars. Katapayadi formula and its application, sangeetha peetam, life history of Ramamatyar, somanatha Narayana tirtha, Bhadrachala Ramadasa,

FOURTH STAGE SYLLABUS

Practical

Seven Adi Tala Varnam in Ragas: Navaraga malikai, Sahana, Madhyamavathi, Thodi, One Padhavarnam, Ata Talavarnams in Kanada & Kalyani. Kritis in followings ragas: SRIRANJANI, POORVIKALYANI, MUKHARI, KEDARAGAULA, SAVERI, SAHANA, ATANA, DEVAGAGANDHARI, BEGADA, Two Utsavasampradhaya keerthans, Two Pancharatna keerthanas, one ASthapadi, one Telugu Padham, One Tamil Padham, One Javali one Ragamalika krithi, one Svarajathi sasthrigal RAGA ALAPANA AND KALPANA SWARAM for : Kalyani, Madhyamavathi, Keeravani,poorvikalayani, saveri, Shanmukhapriya.

Theory

Shadangam and shodashangam, Chapu tala and Its varieties Desadi and Madhyadi Talas, Gathi maathra, Tala dasa pranas, DARU, ASTAPADI, TARANGAM, RAGAMALIKA, PADAM, JAVALI, THILLANA, The Gramophone and the Radio, Accoustics of concert Halls. Open-Air theatre,Dasavidha Gamakas,, Mudras Figuring in musical compositions, Life history of paidala Gurumurthi Sastri, Subbaraya shastri,Veenai Kuppayyar, Mysore sadasiva Rao, Patnam Subramanya Ayyar, Pallavi seshayar, Maari Muthaappillai

FIFTH STAGE SYLLABUS

Practical

Six Varnams in Arabhi, Suratti,Valaji, One Tamil padhavaram, AtaTala Varnam in Bhairavi & Reethigowlal. Kritis in following Ragas : YADUKULAKAMBOJI, CHAKRAVAKAM, ARABHI, KHARAHARAPRIYA, HARIKAMBOJI, SHANMUKHAPRIYA, KEERAVANI, VASANTHA, NEELAMBARI, ANANDHABHAIRAVI,SURATTI & DARBAR, one of shyama sasthirigal svarajathi, One thillana. RAGA ALAPANA AND KALPANA SVARAM in: Sankarabaranam, Bhairavi, Thodi, Kamboji, Kharaharapriya, Sahana, Pantuvarali.

Theory

Gayaka gunas and Gayaka Doshas, Folk usic and its charcterstics, Musical prosody: yati & Prasa, Musical Appreciation, Ancient tamil music. (pans and their classification into pan, panniyam, tiram, tiratthiram, pagalpan,iravuppan and podhuppan) classification of musical instruments : stringed wind and percussion groups. Generanal knowledge of the Instruments : tambura, Veena, gottuvaadyam, violin, nadhawaram, flute, mirudangam. Seats of music in south India during the 18th and 19th centuries.

Accompaniments figuring in concerts of music, dance and Kalakshepam, duties and rights of Accompanists. Model shift of Tonic (graha bhedam)An outline Knowledge of the yazh. Role of Instruments in South Indian Music.