To begin with the students are trained in sruthi followed with yoga excercises for the vocal chords
Shruti denotes microtones based on the seven basic notes (sapta svara) and their twelve semitonal variants (svarasthana). Ornamentation (gamaka) plays a great role even in the rendering of scale patterns (arohana-avarohana), characteristic phrases (prayoga) and special phrases (visesha sancara). In other words, a gamaka constitutes more than arbitrary embellishment as it is the key to the individual character of a raga (raga rupa). Intermediary notes (anusvara) have the purpose of lending continuity to all melody. Subtleties of this kind cannot be reduced to writing but need to be assimilated through long exposure to good music and years of practice under the guidance of an experienced musician. There are hundreds of melodic structures (raga) and numerous rhythmic patterns (tala). Tala and raga can be compared to the warp and weft of a piece of fabric. When both are combined, they can produce an unlimited number of musical patterns and moods. The students are put under various excercises to perfect themselves with various swaras and gamakas along with yoga excercises and breathing techniques.
Jantivarase – Over 30 Janti Varase
Lankara in all the 35 Tala
Manodarma Practice -I Etc.
In every stages the students are taken through various excercises and practice, oriented towards stage performance.
1. Plucking Training –
a. Basic Plucking Training
b. Advanced Plucking Training
2. Yoga Excercises for free finger Movement
3. Meditation with the sound of veena
4. Left hand movement training
5. Swarasthana Practice
6. Saralevarase Training ( 50 Sarlevarse – losening excercises for the finger)
7. Jantivarase – Over 30 Janti Varase
8. Lankara in all the 35 Tala
9.Manodarma Practice -I Etc.
The details provided above are the basic training techniques followed in the school for further details please contact us in person