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Method of Vocal Training in Hindustani Music

 Human vocal is a precious gift by the nature treated as an instrument in music. Vocal is commonly called Gatra Veena in India and often said as the toughest to learn but easier to explore. Human Voice is varies from one Sex to another, childhood to adolescent or adult to old age. Each one has an uniqueness in voice but each one cannot sing. Principal based on anatomical study of human voice and the factors needs to train the normal voice to singable voice is the hardest pathway that nurture a common man to a singer. In Hindustani Classical music, we seldom use scientific methods to train the human ear and human vocal but the entire process we follow traditionally is no less than the scientific method. 

The Gharana- a uniqueness in vocal training is one of the distinct linage we follow as a traditional style of transferring the knowledge to disciples. In Indian classical music Vana/ Style / Gharna are commonly used to identify the distinctness of singing or to tune the vocal in distinct way. In Dhrupad style of singing, four major uniqueness in vocal training are identified throughout the age name as Vani- Dagar Vani- Nauhar Vani, Khandhar Vani and Gauhar Vani. In Carnatic Music Thanjavur Vani is one of the oldest style of vocal training followed by Mysore Vani, Pudukottai Vani, Palakkad Vani and Semmangudi Vani are few prominent style of vocal training. 

We often discuss on the process of gayaki/singing but seldom discussion on the training process of the vocal in each and individual Gharana. Gyaki- vocal recital or the performance is the byproduct of the training what guru teaches to the Shishya. The Gayaki may more flourish if the training of voice in proper way with identifying the nature of the vocal of the individual who come for the lesson.

Every voice cannot be that much flexible in term of Chaumukhi Gayaki but if the training is proper guide an individual can explore all the gayaki in sound manner. The fundamental of Indian Music is Swar so each Swar need to be treated as base note and train in proper way that the pupil can understand the concept of building the notes. 

Shadaj is the base note in Indian Music but on what pitch the Shadaj is perfect for individual is to identify first while starting the class. our traditional style of learning-teaching music is no-doubt good but some effort on ear tuning and identifying the pitch can be a crucial in learning the music. Today we all are dependent of electronic and scientific equipments to produce music so with the knowledge parallel to modern innovation can help for better career opportunity to the students. 

Each individual Guru has a uniqueness in teaching music. it also depend on the style and gharana where proper vocal training was obtained but as per the needs of contemporary scenario here are few tips that a vocalist can adapt the vocal exercise which learning music. 

1. Establishing the base note Shadaj as per the comfort of the scale 

2. Ear tuning- understanding the actual pitch of  C , C# or any other note 

3. Mapping of Shadaj with all the 12 notes - swarstahn and distance of every notes from every notes. 

4. Breathing Exercise - Consistence in Shadaj

5. Establishing the Note - Sa, Re.., Thairav(longer stay on one note with vocal clarity) 

6. Visualising the notes- practice to listen and visual your own notes and mapped with tanpura. 

7. Regular practice 

8. Focusing of perfection on one - Ek Shade Sab Sadhe 

Raga is only the projection of melody of cluster of notes so initial vocal practice should be consistent and visionary that one can understand the concept of Naad , Anunaad , Shruti and Swar. Blind practice with improper guidance may be fatal and may ruin the dream of any individual so it is the most important part to train your voice in proper and scientific way that may help you to create a good career in singing. 

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