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Harmonium Visharad Purna

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

By the time this level is attained, the student is considered proficient in the field of music. He/she should be aware of the nuances of the different raags, and have his/her independent understanding, and more importantly, should be able to express and explain this to the listener. Tuning one’s own instrument expertly is an aspect that has special significance here. The student should also be able to perform the different forms of music like dhrupad, thumri, and tappa in their appropriate style.

  • Swar- The student should have the ability to imbibe any composition that is sung or presented in notation. He/she should be able to transform a composition into the gaayaki ang.
  • Raag - The student should be aware of the finest nuances of all the raags. He/she should be able to compose some sargam and bandish, and also use aalap, taans and bol-taans with meend, gamak, aandolan, etc competently in his/her presentation of the raag. Here, the rasa of the raag and the mood of the bandish must be kept in mind. The student will be taught a vilambit and a drut khyaal / maseetkhani and rajakhani gat in Raags Gaud Malhar, Gaud Sarang, Lalat, Shree, Purvi, Marwa, and Todi. These vilambit khyaals should be set to different taals like Ektaal, Teentaal, Tilwada and Jhumra. He/she should be able to perform these raags for upto thirty minutes. Also, the student will be trained to perform a madhya-laya bandish for upto fifteen minutes in Raags Jogi, Sindhura, Kafi, Tilang and Sohoni. Presenting a dhrupad and a dhamaar composition in aad (off-beat), double, triple and quadruple laya, as well as two taranas, and one trivat is also expected from the student. He/she will be asked to perform some semi-classical form such as a thumri, natya-geet, dadra, or any other form in a regional language.
  • Taal - The student should be able to show all the taals learnt thus far and say them in different laya. In addition to this, Taals Jhumra, Aada Chautaal, Dheema Tritaal, Dhamaar, Matta-taal, and Surfakta are included in this course. The student should be able to say and write the theka of different taals in difficult laya such as double, triple, four times, one and half times, two in three, four in three, three in four, etc.
  • Theory - The student will be asked to write a brief biography of Pt. Vishnu Digambar Paluskar, Pt. Balkrishnabua Ichalkaranjikar, Pt. Ramkrushnabua Vaze, Sangeet Samrat Tansen, Pt. Omkarnath Thakur, Pt. Shankarrao Pandit of Gwalior, Maseet Khan, Rajaa Khan, etc. There will also be essays on topics such as the types of khyaal-gaayan, the place of poetry in music, similarities and differences between the Jaipur and Gwalior gharanas, a comparative study of Hindustani and Carnatic styles, etc. Apart from this, the student will be expected to have comprehensive knowledge about topics such as the ancient types of nibaddha and anibaddha gaan, raag aalap, rupak aalap, the history of the classification of shrutis into swars, the raag-ragini system, thaat and raag-ang system etc. The student should be well-versed in all the raags learnt, such that he/she can give a detailed description of the nuances of all the raags, write his/her own aalaps and taans, and show the similarities and differences between raags that are close to each other. The student should also be able to recognise raags even from difficult written swar-arrangements. He/she is expected to write aalaps with alpatva-bahutva, avirbhaav-tirobhaav and show how the shadow of different raags emerges through the aalap, and also write compositions of different kinds in the notation styles of Pt. Bhatkhande and Pt. Paluskar. Apart from this, the rules of orchestra composition and knowledge of tuning the instruments generally used in an orchestra is also part of the curriculum. He/she should also have detailed knowledge about the difference between the Hindustani and Carnatic taal system, gram murchhana, types of gamak, a brief history of the development of music, as also further elaborate information about the terminology learnt in the previous courses. The student should be well-versed with the tanpura and will be asked to describe the other swars and shrutis emerging from it.