Wednesday, December 10, 2025

How to Start Learning Indian Classical Music as a Beginner — A Step-by-Step Guide

By Sh. J. K. Bansal, Saraswati Sangeet Mahavidyalaya (New Delhi)

Indian Classical Music is not just an art — it is a journey of discipline, inner peace, and self-expression. Whether you are a child, a teenager, or an adult learner, beginning this musical path with the right foundation makes all the difference.

At Saraswati Sangeet Mahavidyalaya, New Delhi, we guide beginners step-by-step, ensuring they build a strong base in sur, taal, voice culture, and raag structure. This blog will help you understand how to start learning classical music, with easy practices, alankars, and the first beginner raga — Raga Bhupali.

Step 1: Start With the Seven Basic Notes (Swaras)

The foundation of Hindustani Classical Music lies in the seven notes:

Sa Re Ga Ma Pa Dha Ni Sa

Your first goal is to sing each swara clearly and confidently.
At our institute, students first learn to:

Find their correct Sa (base pitch)
Sing each note slowly
Maintain breath control
Avoid sliding unintentionally between notes

This early training builds the voice from the ground up.

Step 2: Practice Basic Alankars (Voice Exercises)

Alankars help beginners improve:

Accuracy of sur
Strength of voice
Breath stability
Speed control
Sense of rhythm (taal)

Here are simple, essential alankars for beginners:

Alankar 1 — Straight Pattern

Sa Re Ga Ma Pa Dha Ni Sa
Sa Ni Dha Pa Ma Ga Re Sa

Alankar 2 — Two-Note Patterns

Alankar 3 — Three-Note Patterns

Alankar 4 — Jump Patterns

Even 10–15 minutes of daily alankar practice creates a strong musical foundation.

Step 3: Train Your Voice (Swar Sadhana)

Before learning any raga, beginners must develop a steady and stable voice.

Daily swar practice:
Sa — Re — Ga — Ma — Pa — Dha — Ni — Sa

Focus on:
✔ Consistent pitch
✔ Smooth transitions
✔ Relaxed throat
✔ Deep breathing

This builds clarity and confidence in singing.

Step 4: Learn Your First Raga — Raga Bhupali

Raga Bhupali (also called Bhoop/Bhoopali) is the ideal first raga for beginners. It uses only five notes, making it easy and soothing.

Aaroh (Ascending):

Sa Re Ga Pa Dha Sa

Avaroh (Descending):

Sa Dha Pa Ga Re Sa

Jati: Audav–Audav (5-note raga)

Missing Notes: No Ma and No Ni

Mood (Rasa): Peaceful, devotional

Time: Evening

Pakad (Signature Movement):

Sa Re Ga, Re Ga Pa, Ga Pa Dha, Pa Dha Sa

Step 5: Raga Bhupali Practice for Beginners

✔ Bhupali Sargam

Sa Re Ga Pa Dha | Dha Pa Ga Re Sa

✔ Bhupali Alankars (using only Bhupali notes)

⏳ Step 6: Your 20–30 Minute Daily Practice Plan

At Saraswati Sangeet Mahavidyalaya, we recommend:

5 minutes – Basic notes (Sa Re Ga…)
10 minutes – Alankars
5 minutes – Swar Sadhana
5–10 minutes – Practising Raga Bhupali

Regular practice is more important than long hours.

👨‍🏫 Step 7: Learn Under a Qualified Guru

Under the guidance of Sh. J. K. Bansal and senior faculty, students receive:

Correct training in sur and taal
Step-by-step raga learning
Voice culture techniques
Exam preparation (Praveshika, Junior Diploma, Visharad, etc.)
Performance opportunities

A guru ensures you learn the right way from the very first day.

🌟 Conclusion

Starting Indian Classical Music is simple when you follow a structured path.
Begin with basic swaras, practice alankars daily, train your voice, and start with an easy raga like Bhupali.
With patience and the right guidance, anyone can learn classical music beautifully.

At Saraswati Sangeet Mahavidyalaya, New Delhi, we believe that every student has a musical spark — they only need the right direction to shine.

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Head Voice, Throat Voice, and Chest Voice: Singing Techniques Explained

By Sh. J. K. Bansal – Saraswati Sangeet Mahavidyalaya, New Delhi

Are you learning Indian classical music or modern singing techniques? Understanding how to sing from your head, throat, or chest is key to developing a strong, versatile voice. At Saraswati Sangeet Mahavidyalaya, we train students in proper vocal techniques to ensure healthy singing and tonal mastery.

1. Head Voice – Singing from the Head

Produces high-pitched, airy, and light tones.
Resonates in the head and forehead, ideal for falsetto and high notes.
Tip: Keep your throat relaxed and let the sound resonate naturally.

2. Throat Voice – Singing from the Neck

Mid-range tones with resonance in the throat.
Common in folk, pop, and rock music, but overuse can cause vocal strain.
Tip: Support your throat with proper breathing techniques.

3. Chest Voice – Singing from the Stomach / Diaphragm

Strong, full-bodied tones with chest resonance.
Requires diaphragmatic breathing for sustained notes.
Ideal for low to mid-range notes in classical, pop, and rock singing.

Why Mixing Head, Throat, and Chest Voices Matters

Professional singers combine these techniques to create dynamic range, emotional expression, and vocal health. At Saraswati Sangeet Mahavidyalaya, students learn to balance these techniques under expert guidance from Sh. J. K. Bansal, achieving mastery in both classical and contemporary singing.

Learn Singing at Saraswati Sangeet Mahavidyalaya

Expert guidance in vocal techniques, classical music, and modern styles
Classes for beginners, intermediate, and advanced students
Personalized training to develop your natural voice

📍 Location: A‑23, Sham Nagar, New Delhi – 110018
🌐 Website: www.classicalmusicinstitute.com

9891112664, 9818418497

🎵 Start your singing journey today and discover the power of your voice!

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Wednesday, March 5, 2025

Experience the Magic of Indian Classical Music with Sh. J.K. Bansal!

🌟 Join our exclusive One-on-One Interactive Sessions with the legendary Sh. J.K. Bansal at Saraswati Sangeet Mahavidyalaya! 🌟

🎵 What You’ll Gain from This Personalized Learning Experience:
✅ Tailored guidance to enhance your vocal and instrumental skills
✅ Deep dive into Sur, Laya, and Taal with practical demonstrations
✅ Real-time feedback to refine your technique and expression
✅ Exclusive insights from a master of Indian classical music

💡 Why Learn With Us?
✔️ Personalized Attention – One-on-One Sessions for Focused Learning
✔️ Learn at Your Own Pace – No Rigid Schedules
✔️ Master Various Styles – Classical, Semi-Classical, Ghazal, Bhajan & More
✔️ Grow with Confidence – Regular Assessments & Performance Opportunities

📢 Start Your Musical Journey Today!
📞 Call/WhatsApp: 9891112664
📍 Visit Us: A-23, Sham Nagar, New Delhi – 110018
🌐 Website: www.classicalmusicinstitute.com

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Tuesday, March 4, 2025

Sur, Laya & Taal: The Foundation of Indian Classical Music

Sur, Laya & Taal: The Foundation of Indian Classical Music

Indian classical music is a profound and intricate art form that has evolved over thousands of years. At its core, three fundamental elements govern its structure and expression: Sur (Melody), Laya (Tempo), and Taal (Rhythm). Mastery of these elements allows a musician to create emotive and soul-stirring renditions.

1. Sur (Melody)

Sur refers to musical notes (swaras) that form the basis of melody in Indian classical music. The seven primary notes, known as Saptak (Octave), are:
🎵 Sa, Re, Ga, Ma, Pa, Dha, Ni (and back to Sa)

These notes exist in three registers:

Mandra Saptak (Lower octave)
Madhya Saptak (Middle octave)
Taar Saptak (Higher octave)

Each swara has a distinct emotional quality, and combinations of these notes form ragas, which define the mood of a composition.

2. Laya (Tempo)

Laya is the speed or pace of a musical composition. It provides a structured flow to the performance. There are three primary types of laya:

Vilambit Laya – Slow tempo, allowing for deep exploration of a raga
Madhya Laya – Medium tempo, used in most compositions
Drut Laya – Fast tempo, showcasing the artist’s dexterity

A musician must maintain control over laya to ensure that the composition remains coherent and engaging.

3. Taal (Rhythm)

Taal is the rhythmic cycle that serves as the foundation for Indian classical compositions. It consists of beats (matras) grouped into sections (vibhags). Popular taals include:

Teentaal (16 beats)
Jhaptaal (10 beats)
Ektaal (12 beats)
Rupak Taal (7 beats)

The taal is played on instruments like the tabla or pakhawaj and serves as a timekeeper, ensuring synchronicity between vocalists and instrumentalists.

Conclusion

A true musician seamlessly blends sur, laya, and taal to create a captivating and spiritually enriching experience. Understanding these elements is the first step in learning and appreciating the beauty of Indian classical music.

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🎤 Join us and embark on your musical journey today!
📍 Location: A-23, Sham Nagar New Delhi 110018
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Introduction to Hindustani & Carnatic Music: Understanding the traditions

Hindustani and Carnatic music are the two major classical music traditions of India, each with a rich heritage, unique stylistic elements, and deep-rooted cultural significance. While both traditions share a common foundation in ancient Indian musical texts, they have evolved separately over centuries, developing distinct identities.

Hindustani Music

Hindustani music, prevalent in North India, has been shaped by influences from Persian and Mughal cultures. It emphasizes improvisation, slow and elaborate development of ragas, and a variety of vocal and instrumental styles. Some key features include:

Ragas & Talas: Hindustani music is built around ragas (melodic frameworks) and talas (rhythmic cycles).
Khayal & Dhrupad: Khayal, the dominant vocal form, is known for its fluidity and ornamentation, while Dhrupad is more austere and devotional.
Instruments: Sitar, sarod, tabla, and harmonium are commonly used in Hindustani music.
Gharanas: Different schools or gharanas, such as Gwalior, Kirana, and Jaipur, have contributed to stylistic diversity.

Carnatic Music

Carnatic music, practiced mainly in South India, remains closer to its ancient roots, with a strong emphasis on composition and rhythmic complexity. Key aspects include:

Fixed Compositions: Unlike Hindustani music, Carnatic performances revolve around structured compositions, particularly kritis by composers like Tyagaraja, Muthuswami Dikshitar, and Syama Sastri.
Melodic & Rhythmic Precision: Carnatic music employs a system of 72 melakarta ragas and intricate tala structures.
Instruments: Violin, veena, mridangam, and flute are integral to Carnatic performances.
Devotional Themes: Most Carnatic compositions are deeply spiritual, often dedicated to Hindu deities.

Despite their differences, Hindustani and Carnatic music share the same theoretical foundations, such as the concept of sruti (microtones) and swaras (notes). Both traditions have enriched Indian culture and continue to inspire musicians globally.

Visit: www.classicalmusicinstitute.com

🎤 Join us and embark on your musical journey today!
📍 Location: A-23, Sham Nagar New Delhi 110018
📞 Call/WhatsApp: 9891112664

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Wednesday, September 7, 2022

Gwalior Gharana

Gwalior Gharana: The Gwalior Gharana was founded in the 19th century as a result of the perseverance of two determined people. After relocating to the darbar of the Lucknow maharajas, their illustrious successors were largely responsible for developing the style of khayal as it is known today. Due to its evident advantages of being the oldest, largest, and one of the most stable of all the surviving gharanas, Gwalior gharana is usually recognised as the parent of all gharanas. They are much more admired in this genre because of their distinctive features. Some of the more recent singers had made a wonderful effort by letting in non-family members, so establishing a more diverse group of performers, while others had stuck to their ancient clan of thinking for the gayaki style.

Thursday, September 13, 2018

Six Important Theories about Singing

There are many different theories on music. We feel the important is passion. We have gotten into soooo many conversations with other vocalists and came up with these important factors of singing.

Breathing – Haaaaa, Yeah it sounds awkward but breathe in a right way. Just like Pranayama in Indian yoga--- The process of deep Inhaling and exhaling will help you to breathe in an appropriate manner, which will not only help in singing but in normal lives too. It is beneficial to asthma patients.
Pitch--- Many of the singers did not hit all the notes but try their best to be mindful of pitch. Don’t afraid to go for the note even if it’s out of range.
Tone --- Your tone is the unique sound of your voice given by god. Whether it’s raspy, or pure or a certain twang. In classical music, having the same tone as the person next to you can be valuable in choir setting. The classical music, coach will tell you : where it needs to be fixed. You can use what you got. There is nothing wrong in that.
Vowel Placement— This is something most people don’t think of when they are singing. It can be very technical. There are different places to ‘put’ a vowel when singing the notes. These are the sort of things you want to ask your coach. It could be your defining factor.
Phrasing --- It’s how you make the notes move with the music using breathe, and dynamics. Where you breathe, how loud and soft you are. The easiest way to explain it is you wouldn’t breathe in the middle of the word. The same thing in music as a larger definition.
Passions – This is biggest one. If you don’t feel the emotions then what’s the point in having lyrics. There are many singers who don’t have wonderful voices but can always sing with emotions. Take it personally make the lyrics become a part of you, whether you wrote them or not.