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CLICK HERE TO LEARN SINGING IN AMAR COLONY, LAJAT NAGAR, SOUTH DELHI AT PAIPA

ONLINE SINGING CLASSES IN HINDI

In vocal music we teach Hindustani Classical, Basic Notations, Ragas but that’s not sufficient to become a good singer. For that we also workout on light music, voice and pitch modulation, so that you can also sing modern songs in any language. (Online Vocal Lessons in Hindi).

We don’t only teach singing but also give you many platforms to show your Singing talent, as we do regular events or shows in Delhi & many places in India & abroad, through that our students from the singing class get good opportunities & confidence. (Online Vocal Music Lessons in India).

Students taking as profession

Many students of our academy have won many competitions. We train deserving Vocal Music students for competitions & Singing Auditions like Indian Idol. Sa Re Ga Ma Pa etc. (Learn Online Classical Singing).

Many students from the Academy, who have completed their course in Vocal Music or who have learned properly, taken singing professionally & doing well in their respective fields.

Indian and Bollywood

PAIPA is the only Academy in Delhi, where along with the classical singing we give you lessons for some western singing styles too. So that the learners can easily sing bollywood Songs as well as english songs. (Learn Online Singing in Delhi, India with PAIPA ).

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Online Singing Classes

Classical Dance – So that. Because. Therefore. So. as a result. so. consequently. That is to say. in other words. So. to clarify. But. however. on the other hand. For example. for instance. Above all. most importantly. certainly. So. Learn Synthesizer Online. In conclusion, to sum up. in short. Classes in Delhi. Online Singing Classes – Likewise. similarly. in the same vein. School online. Meanwhile. during, subsequently. after that. Online lessons for Music. Firstly. secondly. further. and. moreover. in addition. Institute in Delhi. Above all, most importantly, certainly. For example, for instance. But, however, on the other hand. That is to say, in other words, to clarify. Academy in Delhi.

Online Singing Classes

INTRODUCTION OF INDIA CLASSICAL MUSIC

Indian classical music is one of the oldest forms of music in the world. It has its roots  in  diverse  areas  such  as  the  ancient  religious  vedic  hymns,  tribal  chants, devotional  temple  music,  and  folk  music. Indian  music  is  melodic  in  nature, as opposed  to  Western  music  which  is  harmonic.   The  most  important point to note is that  movements  in  Indian  classical  music  are  on  a  one-note-at-a-time  basis.    

Hindustani & Karnataka Music

  This progression  of  sound  patterns  along  time  is the most significant contributor to the tune and rhythm of the presentation, and hence to the melody. Although Indian music is now  divided  into  the  two major classes of Hindusthani (Northern Indian) and Karnatak or Carnatic (Southern Indian), the origins and fundamental concepts  of  both  these  types of music are the same. The form of presentation may however vary between the two systems, as well as from one gharana (family) to another in the former system.

The fundamental concepts

The fundamental concepts that have to be understood at the outset are those of swara (musical note), raga (a melodic concept, or scale of notes) and tala (beats of timing  or rhythm). This paper begins with an introduction   to   these concepts.

Examples of raga -s and musical compositions in the Hindusthani style are used to illustrate  the  important  features  of  Indian  music.    Most of the discussion, however, should be applicable to the Karnatak system as well, and to Indian music in general.

SWARA-S: THE MUSICAL NOTES

Unlike the case in Western music, the musical notes used in Indian music are notat standardized frequencies. One may choose any frequency of  convenience  as the reference, and this frequency would then act as the tonic or base of reference for the music to  be  presented. Before  entering  the  realm  of  the  swara -s, we should understand the concept of octaves.

A.   THE OCTAVE:

While it may be convenient at first sight to see the entire gamut of notes on anyinstrument,  for  example the piano, as a sequential arrangement of different notes, it  soon  becomes  apparent  that  there  are  notes  that  sound  “similar”,  but are at different frequencies or pitches[2].  Pairs of such notes, where the frequency of the higher noteis twice that of the lower note, define a range of notes called an octave.  Such a higher note, and further notes that are at integral multiples of the frequency of the lower notereferred  to,  are  called  the  harmonics  of the lower note.   Thus the entire range of notesavailable may be seen as a cyclical arrangement of octaves.

B.   MICRO-NOTES AND NOTES:

It  has  been  observed,  by  ancient  Indian  musicians  as  well  as  more recent musicians  and  musicologists  across  the  world,  that  the  human  ear  is  capable  of distinguishing  at  the  most  22  musically  different  or significant notes within any given octave. These notes are referred to as micronotes, or shruti. Seven of these notes are considered to be the basic notes or swara -s in Indian classical music.  For this reason,

an octave is called a saptak, meaning a group of seven notes.  The basic reference note(the  tonic)  is  called  shadja  (abbreviated  as  sa  in  singing  and  writing,  as  S  here).While  this  could  be  at  any  frequency,  let  us  consider  it  to  be  at  240  Hz  (Hertz = cycles  per  second)  for  the  sake  of  illustration  and  further  discussion.    The  octave spanning 240-480 Hz is then the madhya saptak or middle octave, the range 120-240 Hz  is  the  lower  octave  or mandra saptak, and the frequencies 480-960 Hz make up the taar  saptak  or  higher  octave.   

Remaining Notes

The  remaining  notes  in  an  octave  are  defined   with reference to S, and are called rishabh (ri or ray, R), gandhaar (ga, G), madhyam (ma, M), pancham (pa, P), dhaivat (dha, D), and nishad (ni, N).   (These notes correspond approximately to the notes C , D , E , F , G , A  and B  in the Western music scale.) The next note would be the first note of the next octave, a shadja again, which is written as S , and the same sequence repeats for the higher notes.

The ranges S -M and P -S are called the lower and upper tetrachords of the middle octave.  The same pattern repeats for the lower octave as well, with the notes written as, e.g., N. .   With S  at 240 Hz, the nominal frequencies of R , G , M , P , D  and N  are 270, 300, 320, 360, 405 and 450 Hz  in  the  shuddha  or  pure  scale  of  Indian  music[3].    It  is  readily  seen  that  these frequencies   do   not   bear   an  additive  relationship.    The   progression   of   notes  is geometric,  being  related  by  the  fifth,  i.e.,  P /S  = D /R  = N /G  = S /M  = 1.5  [3]. 

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In terms of the micronotes, the difference or spacing between the above basic notes varies between two, three, and four.  These basic notes are called the shuddha swara -s, meaning  pure  notes. Of these notes, S , on account of its being the tonic, and P , perhaps to serve as a secondary reference at the middle of an octave, are considered to be immobile, or achala swara -s.   

Five additional notes are obtained by altering the remaining five basic notes as follows.  The notes R , G , D , and N  are lowered slightly in frequency (by one or two micronotes) to get their flat or komal versions, written as R , G , D , and N . The note M , however, is moved to a slightly higher frequency to  obtain its sharp or teevra variant, written as M¢ . With the altered or vikrit swara -s included, an octave now has twelve notes as follows:

S R R G G M M¢ P D D N N

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