Prayag Vocals Year 3 by Rishabh Vishwakarma

Full description of the Tanpura and Tabla and the full knowledge of the combination of them, the breadth of the andolan and the subsequent division of the 22 Shrutis into seven pure swaras (modern opinion), a more complete and clear description of the total terms of the first and second years. Definition, special rules of ghats and ragas, subtle distinctions between Shruti and Naad, according to the mathematical composition of 72 ghats and the origin of 484 ragas from one ghat, three classes of ragas according to tone and time (Ratha Komal Raga, Ray-Th Shuddha Vale Raga and Ga-Ni Komal Raga)

Sandhi Prakash Ram, Merits and Demerits of Singers, Types of Taanas (Shuddha or Saral, Koot, Mishra, Bol Taan), Ramak Aad, Types of Permanent Songs Bada Khagal Dhamar Hori, Tappa Ka Detailed Description

Complete introduction to the ragas of the course, including swara expansion and taan

Full introduction of all the taals of this year and last year to their contracts in dugun, tigun and chaugun rhythms.

Knowledge of the method of finding the place of starting a song in a rhythm, etc., through mathematics.

Writing the swara script of the songs Dhamaar and writing the verse in Dugun, Tigun and Chaugun.

Raga recognition by difficult swaras.

Comparison of Prakriti Ragas, Knowledge of Dugun, Tigun and Chaugun rhythms, only the initial introduction of Adalaya the practice of the use of vocal chords

One chota khayal each in Tilakkamod, Hamir, Kedar, Tilang, Kalingra, Patdeep, Jaunpuri, Malkosh and Peelu alap, taan and bol taan

Badanyal – Bageshree, Asavari, Vrindavani Sarang, Bhimpalasi, Desh, Jaunpuri, Hamir, Kedar Patdeep and Malkosh in these 10 ragas

In any of the 6 ragas, there is a lot of khayal, anap taan, bol taan etc.

Out of the above ragas, one dhupad in any two ragas and one chamar in any one raga including Dugun, Tigun, and Chaugun

The practice of speaking the beats of the rhythms of Deepchandi, Jhumra, Dhamar and Tilwara in thaah, dugun, tigun and chaugun laps