» Use of air (breathing) - to bring out the subtle sentiments of lyrics and the Raga, students learn how to increase and decrease the intensity of their voice and how to sustain notes for longer time. By doing so the students automatically practice "Pranayam" which also helps the practice of concentration.

» Voice training and voice culture - use of voice in detail for singing different styles and to develop the tonal quality and expression.

» Understanding of musical notes - from the day one, the students learn to sing the "shuddha swaras" of an octave (from Sa to upper Sa) firstly in ascending and descending orders and gradually to move around them in all possible disorganized manners. Later, they start learning to sing all the 12 notes of an octave. After a couple of years of training they start learning Ragas in detail when they start seeing the correct positions of the notes (swaras) and those Swaras in different Ragas which never oscillate. These non- oscillating Swaras with harmonic relationship are called 'Vaad', 'Samvaad', the most important notes, and their position is 5th to each other. Students also learn to visualize how to oscillate which note in a particular raga. They learn the typical use of combination of notes (phrases of a Raga) with the help of different Bandish (composition).

» Students learn "time" and its use in different forms of music through 'Talas', 'Layas' and 'Chhanda's. For clear understanding, students learn the syllables, the sounds and the playing styles of 'theka's (the cycle of beats) of Tabla and Pakhwaj. We have basic four forms in Indian Raga music. They are Dhrupad/Dhamar, Khyal, Thumri and Tappa. Pakhwaj is used in Dhrupad/Dhamar or any other song of their 'Ang' (type). All other forms are sung with Tabla, the richest percussion instrument of the world. Students learn here both mathematics and aesthetics for applying different rhythm patterns in developing different styles of classical singing including other genres of Indian vocal music.

» The instructors of 'Shrutinandan' also take care of the lyrics, their meaning and the correct pronunciation and enunciation to bring out the feeling of the same in the best possible way. Pronunciation of the 'swara' (vowels - like AA, E, EE, O & OO) is the most important thing for singing Khyal, Thumri and Tappa where enough option of imagination in moving around the notes with different kinds of movements is there. So distortion in pronunciation can occur any time. Wrong linking of vowels in a word of a lyric or movement among the concerned notes of a particular Raga destroys the overall quality of performance. In the Western part of the globe, there is specific training system for pronouncing vowels. In Indian music normally no such definite training process was available. As a result when we sing slow tempo 'bandish' (Raga composition) and improvise the same, listeners do not understand the wordings of the lyrics and cannot therefore have the desired satisfaction.

All the above-mentioned training needs deep concentration and prolonged practice. Deep concentration develops insight and long practice brings success, achievements and develops habit of doing things towards perfection. Ultimately, by developing these qualities the students learn to analyze them critically and get up the higher arena of senses. Learning music in Shrutinandan concept a student is expected to become an honest, sincere and hardworking better human being with values.