Assam ASSEB Higher Secondary Skill Subject Hindustani Vocal study plan

Write out the full swaralipi of the ten Thaat-s (Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi, Todi) from memory in both Pandit Bhatkhande's and Pandit Paluskar's notation conventions, marking komal, tivra and shuddha swaras correctly

Notate the aroha and avaroha of at least five ragas using the correct symbols for komal (underscore), tivra (vertical line), and the octave dots, then verify each against your textbook

Define in writing the terms: swara, saptak, moorchhana, vakra, varjya, aroha, avaroha, pakad, and explain how komal/tivra alteration changes the shruti position of a note

Explain the relationship between the 22 shrutis and the 12 swaras of the saptak, and state which swaras are considered vikrit and why

Measure and write down the frequency ratios of the shuddha intervals (sa-ma, sa-pa) and explain in one paragraph why the tempered scale differs from just intonation

Classify all ten Thaat-s under Bhatkhande's system and state the identifying swara of each (e.g., Khamaj's komal Ni, Kafi's komal Ga and Ni)

Distinguish between Thaat, raga, and uparaga, and explain why Jati (audav, shadav, sampurna) is a separate classification axis from Thaat

List the prescribed ragas and assign each to its Thaat, its jati, its time of day (purvang/vastrang), and its vadi-samvadi pair

Identify the pakad of each prescribed raga by ear from recordings and write the notation of each pakad

Explain the concept of ragang and how two ragas sharing a Thaat (e.g., Bihag and Maru Bihag) are distinguished by their chalan rather than their scale

Sing the aroha and avaroha of each prescribed raga in tune with the tanpura, holding Sa steady for the full cycle

Sing the pakad of each prescribed raga three times without reference, then check against notation and correct errors

Compose and notate a short bandish (sthayi plus antara) in any two prescribed ragas, marking sam, tali and khali positions

Analyse one prescribed bandish line by line: identify which swaras reveal the raga's identity and which are merely ornamental

Record yourself singing one raga for five minutes and write a self-assessment listing intonation slips and wrong swara choices

Write the theka of Teental, Jhaptal, Rupak, Ektaal and Dadra in bol notation and recite each aloud while clapping tali and waving khali correctly

Explain the difference between matra, vibhag, tali, khali, sam and avartan, and count the vibhags of each prescribed tala

Practise laya control: sing one bandish in each prescribed tala at vilambit, madhya and drut, keeping sam stable against a metronome or tabla app

Notate a bandish so that every syllable falls on a numbered matra, and mark which matra carries sam

Explain layakari types (barabar, dugun, tigun, chaugun) and demonstrate dugun and tigun orally in Teental

Classify compositions by type: dhrupad, dhamar, khayal (bada and chhota), tarana, thumri, and state the structural feature that distinguishes each

Explain the terms sthayi, antara, sanchari, abhog and which composition types use all four

Write the full notation of two prescribed compositions with correct division into sthayi and antara and correct tala marking

Sing each prescribed composition from memory with correct pronunciation of the text and correct sam placement

Identify at least three lakshanas (characteristic markers) of a raga within a bandish and explain how the composition confirms the raga's identity

Build a dated timeline from Vedic samagan to the 20th century covering the shift from prabandha to dhrupad to khayal, and mark where the Thaat system was codified

Explain the contributions of Amir Khusrau, Tansen, Sadarang-Adarang, and the split into gharanas, naming the principal gharanas and one hallmark of each

Describe the life and contribution of Pandit Vishnu Narayan Bhatkhande and Pandit Vishnu Digambar Paluskar, specifically their roles in notation systems, institutions and music education

Explain the role of All India Radio and music conferences in standardising ragas and talas in the 20th century

Write short profiles of at least four musicians associated with Hindustani vocal, stating their gharana and one specific contribution

Perform a complete 15-minute set: one bada khayal with alap and vistaar, one chhota khayal, and one composition in a second prescribed tala

Demonstrate at least two layakari patterns in Teental and one in Jhaptal without losing sam

Sing the pakad and aroha-avaroha of every prescribed raga in random order, self-testing without notes

Identify prescribed ragas and talas from short audio clips, scoring yourself and reviewing every miss

Write the theoretical description of each prescribed raga and tala from memory in exam-answer format

Answer full-length practice papers under timed conditions, covering notation, raga classification, tala counting and composition analysis

Revise every comparison table, timeline and glossary created in weeks 1 to 7, correcting any error found

Re-record the weakest prescribed raga and composition and compare against the week 3 and week 5 recordings to confirm improvement

Explain acoustically why the tanpura's overtones reinforce Sa and Pa, and define pitch, intensity, timbre and resonance in exam-ready sentences

List every prescribed raga, tala and composition from memory in a single blank-page recall test