Practical:

1. Geethas

• Sri Gananatha – Malahari – Rupaka Talam
• Kunda Goura – Malahari – Rupaka Talam
• Varaveena– -Mohana– Rupaka Talam
• Shri Govinda – Shankarabharanam – Matya Talam
• Kalyani – Kamalajadala– Trisra Triputa
• Shuddhasaveri– Analekara– Trisra Triputa
• Lakshana Gita – Arere Jayajaya – Shreeranjini – Trisra Triputa
• Swarapallavi – Hindolo – Aadi Talam
• Swarajathi – Balakrishna Mohana – Mohana – Trisragathi Adi
• Avivadhi – Melas -1 (Juniors)

Note :- 16 sets Shuddha – madhayama and Prati Madhyama avivadi – melas are Furnished here under and the aspirants must regularly practice a set of two Melas of them in which the first one is from Shuddha – Madhyama – malas and the last one.

Jati Alankaras – chaturasram  4 units and Tisram 3 units

Primary Laya Exercises – 12

Theory :

1. Characteristics of Geetha
2. Characteristics of Swarapallavi
3. Table of 35 Talas
4. 72 Melakarta Ragas
5. Sodasha Swaragatha Stanas 
6. Purandaradasa Life History
   
7. Bhadrachala Ramadasu Life History

Practical : 

Varnam : 

1. Sami ninne – Sankarabharana – Aadi
2. Chalamela – Natakuranji  – Aadi Varna
3. Taruni – Kambhoji – Adi Varna

Note : All the notations including the respective Arohana and Avarohana furnished here under are to be sung the tempo @ 1 – note per each second.

Each and every Varna has to be demonstrated at the first instance bringing out the interrelation of Kampitas and Gamakas of notes in detail and taught 2 or 3 times modifying the phrases each time to increase the technnical knowledge of the aspirant in music.

Kritis :

1. Kaalaharanamelaraa – Shuddhasaveri _ Rupaka – Tyagaraju
2. Ennagana Ramabhajana – Pantuvarali – Rupaka – Ramadasu
3. Brochevarevare – Sriranjani – Adi – Tyagaraju
4. Samajavaragamana – Hindola – Adi – Tyagaraju
5. Sri Vignarajam Bhaje
6. Jati Alankaras sung @ 1,2,3,4 per each Kriya
7. Aadi talam -Chaturashra-gati -1 (4 ) 0 0 Trisra (3), Khanda (5)& Mishra(7) Jati groups
8. Chaturashra-jati-groups in the cyclic-ending of Adi Tala

Theory: 

1. Shodasha Swaragata Sthanas
   
2. 72 Melakarta Ragas
3. Table of 35 Talas
   
4. Characterstics of varna
5. Charactetstics of Keerthana
6. Tyagaraja swamy life history

Practicle : 

Varnas :
1.Vanajakshi-kalyani-Aditalam
2.Chalamela-Darbar-Aditalam
3.Eranapai-Todi-Aditalam 

Note : All the notations including the respective Arohana and Avarohana furnished here under are to be sung the tempo @ 1 – note per each second.

Each and every Varna has to be demonstrated at the first instance bringing out the interrelation of Kampitas and Gamakas of notes in detail and taught 2 or 3 times modifying the phrases each time to increase the technnical knowledge of the aspirant in music.

Kruthis : 

1. Guruleka – Gourimanohari – Khadachapu – Thyagaraju
2. Ammaraavamma – Kalyani – Khandachapu – Thyagaraju
3. Gamganapathe – Hamsadhvani – Adi (Trisra-gati)
4. Alai Payute-kaanada-adi talam-ottukadu venkata subbaiyer
5. Himagiri thanaye Hemalathe-Suddha Dhanyasi-adi talam-Muthaiah Bhagavatar
6. Avivadi Melas -2(Seniors)
7. Trisra gati-adi talam-in Chaturasra(4),khanda(5),mishra(7) jati groups.
8. Trisra gati -adi tala-cyclic ending in Chaturasra jati
9. Jati Alankaras sung @ 1,2,3,4,6 & 8 per each Kriya
10. khanda chapu-jati and svara endings with tala cycle-Svarakalpana -1
11. Trisra gati-adi-jati and svara endings -tala cycle-svarakalpana-1
12. Khanda chapu-prastara muktayis-svarakalpana-2
13. Trisra gati-adiTalam-Prastara Muktayis -svarakalpana-2

Theory :

1. Characteristics of kritis
2. Muthuswami dikshitar

 
Practicle : 

Varnas :
1. Sarasuda – Saveri – Aditalam
2. Inthachalamu – Begada – Aditalam
3. Viriboni – Bhairavi – Atatalam
4. Kamakshi – Bhairavi – MisraChapu – Svarajati

Note : All the notations including the respective Arohana and Avarohana furnished here under are to be sung the tempo @ 1 – note per each second.

Each and every Varna has to be demonstrated at the first instance bringing out the interrelation of Kampitas and Gamakas of notes in detail and taught 2 or 3 times modifying the phrases each time to increase the technnical knowledge of the aspirant in music.

 Kritis:
1. Niducharanamule – Sihmendramadhyamam – MisraChapu – Thyagaraju
2. Bantureethi – Hansanadam – Aditalam – Tyagaraju
3. Swagatham krishna – mohana – Aadi talam – oothukadu venkatakavi
4. MisraChapu – Jati and Svara endings – Tala cycle – Kalpana – 1
5. MisraChapu – Prastara Muktayis – Swaram Kalpana – 2

Theory :

1.  Characteristics of swarajathis
2. Shyama shastri life history

Course content will be available soon

Course content will be available soon

Course content will be available soon