a) Pays great attention to the rhythm of his song.
b) Pronounces the words of his composition correctly and in such a manner that they are intelligible to the
audience.
c) Produces the raga-form correctly according to his tradition, and
d) Sings in his natural voice and does not imitate another voice or singer.

According to the old Indian tradition, vocal music is a life long education and one cannot be perfect even when one approaches one's end. The sadhana is difficult but rewarding. Practice makes a person perfect. Even well-known and reputed singers practise eight to twelve hours a day.

4. Dos and Don'ts
The following points should be taken into consideration if the singer is to acquire merit and reputation in the
profession.
1) The musician should acquire a perfect knowledge of shrutis, svaras, tal, sequences and notations.
2) The words of the geet or composition should be clearly pronounced and be intelligible to the
listeners. His pronunciation should be correct and unambiguous.
3) Bol tan should be practised for the elaboration of raga, tal, alaap and alankar.
4) The musician should keep in mind the vadi and sanvadi notes of the raga he is performing. He
should use only those svaras which can be permitted in accompaniment. He must delineate the
raga-form correctly.
5) The pitch of the voice of the singer should be neither too high nor too low.
6) The singer should sing the raga keeping in mind the rasa (emotion) which that raga is intended to
produce. He should share that rasa with the his listeners.
7) The singer should sing the raga keeping in mind the time appropriate to the raga and sing it at the
right time. The restriction may not apply to special music concerts held at particular hours.
8) The singer should bear in mind as far as possible the preferences of his audience and also watch
their response.
9) The musician should cultivate the modulation and melodiousness of his voice.
10) There should be no strain on the throat and there should be no break or hoarseness in the voice.
The music should seem to follow effortlessly and spontaneously. His voice should be under his
perfect control and he should sing with confidence and concentration.
11) He must have a good memory and should sing with grace and composure

The following are some of the demerits in singing which the musician should avoid:
1) To use vivadi (forbidden) or inappropriate notes in the raga.
2) To sing without laya and tal.
3) To sing with nasal twang or to squeak.
4) To sing with clenched teeth or a frown or puffed cheeks.
5) To sing loudly or in a harsh tone.
6) To sing nervously or with tension or tremor.
7) To turn or twist the neck while singing.
8) To make gestures while singing.
9) To sing inappropriately or indifferently without paying heed to the rasa (emotion) appropriate to the raga.
10) To adulterate or pollute the correctness (shudhta) of the raga.
11) To pronounce the words incorrectly or in such a manner that the listeners may not be able to understand.
12) To sing with eyes closed. However, in case of Gurbani Sangeet or devotional music, the composition may
be sung with eyes closed to help meditation and the creation of the rasa (emotion).

a) Pays great attention to the rhythm of his song.
b) Pronounces the words of his composition correctly and in such a manner that they are intelligible to the
audience.
c) Produces the raga-form correctly according to his tradition, and
d) Sings in his natural voice and does not imitate another voice or singer.

According to the old Indian tradition, vocal music is a life long education and one cannot be perfect even when one approaches one's end. The sadhana is difficult but rewarding. Practice makes a person perfect. Even well-known and reputed singers practise eight to twelve hours a day.

4. Dos and Don'ts
The following points should be taken into consideration if the singer is to acquire merit and reputation in the
profession.
1) The musician should acquire a perfect knowledge of shrutis, svaras, tal, sequences and notations.
2) The words of the geet or composition should be clearly pronounced and be intelligible to the
listeners. His pronunciation should be correct and unambiguous.
3) Bol tan should be practised for the elaboration of raga, tal, alaap and alankar.
4) The musician should keep in mind the vadi and sanvadi notes of the raga he is performing. He
should use only those svaras which can be permitted in accompaniment. He must delineate the
raga-form correctly.
5) The pitch of the voice of the singer should be neither too high nor too low.
6) The singer should sing the raga keeping in mind the rasa (emotion) which that raga is intended to
produce. He should share that rasa with the his listeners.
7) The singer should sing the raga keeping in mind the time appropriate to the raga and sing it at the
right time. The restriction may not apply to special music concerts held at particular hours.
8) The singer should bear in mind as far as possible the preferences of his audience and also watch
their response.
9) The musician should cultivate the modulation and melodiousness of his voice.
10) There should be no strain on the throat and there should be no break or hoarseness in the voice.
The music should seem to follow effortlessly and spontaneously. His voice should be under his
perfect control and he should sing with confidence and concentration.
11) He must have a good memory and should sing with grace and composure

The following are some of the demerits in singing which the musician should avoid:
1) To use vivadi (forbidden) or inappropriate notes in the raga.
2) To sing without laya and tal.
3) To sing with nasal twang or to squeak.
4) To sing with clenched teeth or a frown or puffed cheeks.
5) To sing loudly or in a harsh tone.
6) To sing nervously or with tension or tremor.
7) To turn or twist the neck while singing.
8) To make gestures while singing.
9) To sing inappropriately or indifferently without paying heed to the rasa (emotion) appropriate to the raga.
10) To adulterate or pollute the correctness (shudhta) of the raga.
11) To pronounce the words incorrectly or in such a manner that the listeners may not be able to understand.
12) To sing with eyes closed. However, in case of Gurbani Sangeet or devotional music, the composition may
be sung with eyes closed to help meditation and the creation of the rasa (emotion).