Sa. Pa. Sa. — the foundation of every musical journey.

1. 1
   Sarali Swarasसरळि स्वरthe first exercises

   The foundation of everything that follows. The seven swaras, Sa, Ri, Ga, Ma, Pa, Dha and Ni, are sung in ascending and descending order in Mayamalavagowla. This raga is chosen for beginners because its intervals train the voice most evenly.

   You will be able toSing the seven swaras in order, in three speeds, in tune with the tanpura.

   Beginner~10 weeks

2. 2
   Janta Swarasजण्ट स्वरpaired notes

   Each swara is doubled: sa-sa, ri-ri and ga-ga. This teaches the voice to strike a note twice with equal weight. This is where breath control and the first stress patterns of Carnatic phrasing are built.

   You will be able toHold two notes cleanly together and keep your place in the tala.

   Beginner~8 weeks

3. 3
   Alankarasअलंकारpatterns across the seven talas

   Fixed melodic patterns are sung across the sapta tala, the seven rhythmic cycles. The same phrase is carried through changing time signatures, which is how a student learns to keep tala independently of melody.

   You will be able toSing one phrase through seven rhythmic cycles without losing count.

   Beginner~10 weeks

4. 4
   Geetamsगीतम्your first real songs

   The first compositions with lyrics are simple and continuous, without the sectional repetition of later forms. A geetam is the moment exercises become music, and most students remember their first one for life.

   You will be able toSing a complete composition with words, from memory.

   Beginner~8 weeks

5. 5
   Swarapallavisस्वरपल्लविshort melodic sentences

   Brief pallavi-like passages set to swaras, sung as a bridge between the geetam and more structured forms. They introduce the idea of a melodic line that returns and resolves.

   You will be able toShape a short melodic phrase and bring it back to its resting note.

   Intermediate~6 weeks

6. 6
   Swarajatisस्वरजतिsongs with structure

   The first compositions are built in distinct sections: pallavi, anupallavi and charanam. A swarajati moves between passages sung in swaras and passages sung in lyrics, which is the architecture every later form uses.

   You will be able toMove between swaras and lyrics inside a single piece.

   Intermediate~8 weeks

7. 7
   Varnamsवर्णम्the athlete’s stage

   The most demanding technical form in the repertoire, and the one that concentrates the characteristic phrases of a raga into a single composition. A varnam is sung in two speeds and is traditionally how a kutcheri opens.

   You will be able toSing a varnam in two speeds. This is where a voice becomes a trained voice.

   Intermediate~1 year

8. 8
   Keertanasकीर्तनdevotional compositions

   Melodically direct compositions in which the words carry the weight. They include devotional repertoire by Annamacharya, Bhadrachala Ramadasu and Purandara Dasa. Keertanas train diction, meaning and expression rather than ornament.

   You will be able toSing with clear diction and let the meaning of the text shape the line.

   Intermediateongoing

9. 9
   Kritisकृतिthe concert repertoire

   The central form of Carnatic music, and the body of work left by the Trinity: Tyagaraja, Muthuswami Dikshitar and Syama Sastri. A kriti carries the full weight of a raga alongside sangatis, the successive variations that unfold a single line.

   You will be able toHold a kriti with its sangatis. This is the music a kutcheri is actually made of.

   Advancedongoing

10. 10
    Manodharma Sangeethamमनोधर्म संगीतम्your own imagination

    The improvised half of Carnatic music, and the point of everything before it. Raga alapana explores a raga without rhythm; niraval reshapes a single line of text; kalpana swaram improvises in swaras against the tala.

    You will be able toImprovise within a raga. The music stops being borrowed and becomes yours.

    Advanceda lifetime

Stage order follows the standard progression of Carnatic vocal instruction, corroborated by the Carnatic Vocal grade syllabus of the Tamil Nadu Dr. J Jayalalithaa Music and Fine Arts University. Durations are indicative and vary with practice.

• Individual Kutcheris

  Solo concert opportunities, in the traditional kutcheri format.

• Group Concerts

  Ensemble performances where students learn to listen and hold a line together.

• Thematic Presentations

  Programmes built around a composer, a raga or a devotional tradition.

• Cultural Festivals

  Performances at wider cultural and seasonal music events.

• Annual Student Recitals

  The yearly occasion for every student to perform what they have prepared.

• Studio Recordings

  Recorded work, so students build something they can keep and share.