Visharad First Year
विशारद प्रथम वर्ष
Examination conducted by Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMVM)
Note · सूचना
Fifty minutes is allotted for this examination. Seven minutes each is given for vilambit bandishes presented with full elaboration and five minutes each for madhya laya bandishes; the remaining time is used for the other columns. Harmonium accompaniment is not accepted. The 250 practical marks comprise 200 for performance and 50 for the stage presentation.
Theory · शास्त्र
Paper 1 — Detailed exposition of all prescribed raags with a comparative study of similarities and differences; identifying a raag from a group of notes. Detailed study of Aada Chautaal, Jhumra, Deepchandi and Punjabi, with practice writing them in both the Vishnu Digambar and Bhatkhande systems, and in dugun, tigun and chaugun laykari. Ability to notate the bandishes and gats of the prescribed raags in both notations. Detailed exposition of modern and ancient methods of aalap. Types of taan and their detailed study. Full exposition of the nibaddha song forms — dhrupad, dhamar, tarana, tappa, thumri and khayal.
Paper 2 — The mathematical construction of Pt. Venkatamakhi’s 72 melas. Exposition of the thaat system from ancient to modern times, with its merits and shortcomings. The time-cycle of raags and the three classes of raag classification in detail. The musical contributions of Alladiya Khan, Vinayakrao Patwardhan, S. N. Ratanjankar, Allauddin Khan, Omkarnath Thakur, Nikhil Banerjee, Balkrishnabuwa Ichalkaranjikar and Bismillah Khan. Classification of Indian musical instruments.
Ability to write essays on: the place of music among the fine arts; the influence of classical music on film music; classical music yesterday, today and tomorrow; and the importance of bandishes in classical music.
Practical · क्रियात्मक
Performance Style · गायन-वादन शैली
Development in the style of khayal singing or playing is expected this year, along with the ability to elaborate a raag through one’s own aalap and taans. The use of alpatva-bahutva and aavirbhav-tirobhav in performance is expected.
Raag Knowledge · रागज्ञान
In each of the six raags for detailed study: one vilambit and one drut khayal, or one masitkhani and one razakhani gat. In the seven raags for general knowledge: madhya laya bandishes or gats, with the ability to sing or play for 15 minutes with aalap, taan and tode. Five further compositions are required in this year’s raags — one dhrupad, one dhamar, two taranas, and one chaturang or trivat. For semi-classical music, one thumri, dadra or equivalent form in Peelu, Bhairavi or Jogiya, or in a regional language.
Raags · राग:
The first six raags are for detailed study; the remaining seven for general knowledge.
- Instrumental students will prepare their compositions in Roopak, Jhaptaal, Ektaal, Aada Chautaal and Deepchandi.
- Ten marks in the performance column are allotted for playing and singing the national songs Jana Gana Mana and Vande Mataram on the harmonium.
Taal Knowledge (Rhythm) · ताल-ज्ञान
Complete knowledge of Aada Chautaal, Deepchandi, Addha (Teentaal), Dhumali, Chachar and Jhaptaal, and the ability to recognise them as played on the tabla. Practice playing the common thekas on the tabla. Practice reciting dugun, tigun and chaugun of all taals learned so far.
Marking Scheme · अंकपत्रिका
| Description · विवरण | Marks · अंक |
|---|---|
| One bandish with full elaboration in each of two of this year’s raags (13+13) | 26 |
| Bandish only, with characteristic aalap, in two raags from this year and one from last year (8+8+8) | 24 |
| One madhya laya bandish with full elaboration in each of two of this year’s raags (9+9) | 18 |
| Bandish with characteristic aalap in two raags from this year and one from last year (4+4+4) | 12 |
| Dhrupad, dhamar or an equivalent gat or rhythmic alankar — in thaah (4), chaugun (5) and tigun (7) | 16 |
| Comparison, with aalap and taans, of two raag pairs from: Deskar–Bhupali, Jaunpuri–Darbari Kanada, Chhayanat–Kamod, Des–Tilak Kamod | 24 |
| Tarana, chaturang or trivat in this year’s raags, or a gat in Roopak, Jhaptaal or Ektaal | 10 |
| Aalap and taan in three raags from this year and two from earlier years | 20 |
| Identifying the thekas of two taals as played on the tabla | 6 |
| Knowledge of two of this year’s taals, and reciting their thekas with taali and khali | 6 |
| Reciting a theka with hand claps in chaugun, tigun and dedhgun (3+4+6) | 13 |
| Thumri, dadra or natya sangeet in Peelu, Bhairavi or Jogiya (for instruments, a dhun in this style) | 15 |
| Hearing a line of a bandish and reciting and writing its notes; or playing and singing Jana Gana Mana / Vande Mataram | 10 |
| Stage performance — one of this year’s raags plus semi-classical music, presented for 20 to 30 minutes | 50 |
| Total · कुल | 250 |
Theory (Written) · शास्त्र (लिखित)
| Paper 1 | 75 |
| Paper 2 (minimum 52 marks across both papers) | 75 |
| Total Theory · कुल शास्त्र | 150 |
Other Exams
Prarambhik
Praveshika First Year
Praveshika Second Year
Madhyama First Year
Madhyama Second Year
Visharad Second Year
Alankar First Year
Alankar Second Year
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