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Harmonium Visharad Pratham

Harmonium is one of the oldest musical instruments used in India and its origin is a much debated one. Many old writings state that its origin dates back between the later parts of 18th century and 19th century. This instrument gained popularity as it has sturdy sound and also is easy to carry. Harmonium is used well with classical music like Carnatic, Hindustani classical music and Ghazal performances and more.

Among the various harmonium classes in Pune, Gandharva Mahavidyalaya is the most reputed and the oldest institution which offers finest harmonium classes in the city. Here all the harmonium classes are at par with international standards.

Being one of the renowned institutes offering harmonium classes in Pune, Gandharva Mahavidyalaya has various study levels and course structures designed through the various lessons. The harmoniums used for the classes are well tuned and are made perfect for learning purpose. The harmonium lessons are given on a one on one basis and a batch of harmonium classes will contain upto 7 students.

Keeping abreast with the latest technology, Gandharva Mahavidyalaya has started online harmonium classes as well and thus becoming one of the first online harmonium classes in Pune. The institution offers lessons for all levels from Prarambhik to Visharad, examinations are also conducted online. Anyone who is above 7 years of ages is eligible to join the harmonium classes.

Visit the courses page to know more about the various courses and lessons provided in our harmonium classes.

  • Course Objectives
  • Course Contents

In the next two courses, the student will be expected to make special efforts to develop his/her performance skills. He/she should be able to properly explicate and present a bandish with aalap, taan and bol-taan, and make the performance both balanced as well as impressive. As the student progresses through the courses, his/her depth of knowledge is expected to increase. Thus, even if the issues emerging in all further examinations are more or less the same, the student’s expertise in it is supposed to increase with each passing level.

  • Raag - The student will be taught one vilambit khyaal / gat and one drut khyaal / gat in Raags Puriya, Bibhas, Bhoop, Miya Malhar, Multani, Darbari Kanada and Bilawal. One of these vilambit khyaals needs to be set to Taal Tilwada. Apart from this, the student should be able to perform a madhya-laya bandish / gat for around fifteen minutes in the Raags Adana, Basant, Gaud Sarang, Jhinjhoti, and Jaunpuri. The aalap, taan, and bol-taan that are performed here should emerge from the student’s own creativity. Also, the student has to be prepared to perform two dhrupad, two dhamaar (in double, triple and quadruple tempos), two taranas, and one chatranga or trivat. The student should also know a thumri, natya-geet, bhaav-geet, dadra, or any other such form of semi-classical music.
  • Taal - Taals Tevra, Deepachandi, and Tilwada are introduced in this course.
  • Theory - The student is expected to be able to compare different features of the raags in the syllabus. He/she should also be able to recognise the raag from a written set of swars, and should be able to expand it in a written form in the same manner. He/she should also know how to write the notation of the bada and chhota khyaals, the dhrupad and dhamaar included in the syllabus, as well as the taals with complete details in both the Paluskar and Bhatkhande styles of notation. The student will also be given information about different forms of music like chatranga, ashtapadi, tappa, hori, etc. Apart from this, he/she should be able to write a brief note about topics such as the thaat and raag system, the modern style of aalap gaayan, raag-lakshan (both old as well as new), gaayaki-naayaki, jaati-gaayan, the three categories of raags and their classification according to time, the history of the raag-raagini system, etc. Composing a basic piece of music is also a part of the curriculum for this course. Also, the student should briefly know about the styles of the present well-known singers and instrumentalists, and the features of different established gharanas in classical music. In the written examination, he/she will be asked to write an essay on topics such as folk music, music and literature, the problems music faces today, raag and rasa, etc. The student should also know about the life and work of Ustad Alladiya Khan, Ustad Bade Ghulam Ali Khan, Pt. V.N. Patwardhan, Pt. Ratanjankar, Ustad Ali Akbar Khan, Pt. Ravi Shankar, and Ustad Vilayat Khan.