BSEB Inter Music study plan

Define and correctly pronounce the 12 swarasthanas and 22 shrutis, and write the komal/tivra variants of all seven shuddha swaras from memory.

Construct Bilawal, Khamaj, Kafi, and Bhairav thatas by writing each thata's aroha and avaroha in Sargam notation without consulting notes.

Map each of the ten thatas to at least two prescribed ragas and state which swaras are vakra, komal, or tivra in each.

Sing or play the aroha-avaroha of Yaman, Bhairav, and Bhairavi while naming each swara aloud in rhythm.

Write the pakad and two characteristic chalan phrases for each of the first five prescribed ragas, marking which swaras are skipped or oscillated.

Distinguish paired ragas (e.g., Yaman/Yaman Kalyan, Bhairav/Bhairav Bahar, Bageshri/Bageshwari Kanada) by listing three swara-level differences for each pair.

Identify each of the first five ragas from a written Sargam passage of 8-12 notes alone, without the raga name given.

Explain the concepts of vadi, samvadi, anuvadi, and vivadi and assign them correctly for the first five ragas.

Perform a five-minute alap in two prescribed ragas, unfolding the raga phrase by phrase from sthayi to antara register.

Practice the pakad of each prescribed raga until it can be sung or played three times consecutively without hesitation.

Record yourself singing or playing one slow khayal (vilambit) in a prescribed raga with correct sam placement on the first beat.

Correct at least three intonation or phrase errors flagged in your own recordings from week 2.

Write the theka in bols for Teentaal, Jhaptaal, Rupak, Ektaal, and Dadra, marking sam, tali, and khali for each.

Notate one composition in Bhatkhande notation with correct bar lines, matra numbers, and khali symbols.

Clap and recite each prescribed tala at three layas (vilambit, madhya, drut) while keeping the talis and khalis distinct.

Identify a tala from a written bol sequence alone in 8 out of 10 attempts.

Perform a composition in Teentaal with a rhythmic tihai that lands exactly on sam, verified by recording.

Sing or play the same composition at two different layas and demonstrate a simple layakari (e.g., doubling the bols) within the tala cycle.

Keep tala with hand claps while another recording plays, staying on sam through at least eight cycles.

Notate a tihai in Bhatkhande notation showing the matra count and sam placement.

Outline the contributions of Tansen, Amir Khusrau, and Bhatkhande with two specific, verifiable contributions each and approximate dates.

List the defining features of dhrupad, khayal, tarana, bhajan, and one folk form, contrasting at least two features per pair.

Explain the difference between a khayal's sthayi and antara and where a tarana's syllables differ from meaningful text.

Match five composers or musicians to the form or raga they are associated with in a self-made quiz.

Perform a complete short recital set (alap, vilambit or madhya khayal, tarana or drut composition) in one prescribed raga, 8-10 minutes total.

Perform a second prescribed raga contrasting in thaat or time of day, demonstrating correct pakad placement.

Sustain correct swara intonation for the raga's komal or tivra notes across a full alap, checked against a tanpura or drone.

Recover cleanly to sam after a deliberate rhythmic disruption in practice, three times in a row.

Complete a timed 60-minute mock paper covering swara, raga, tala, notation, and history, then correct every wrong answer with a written reason.

Identify five ragas and three talas from written Sargam or bol passages in a single sitting, scoring 80% or better.

Rewrite from memory the notation of one composition and one theka without reference material.

Review and re-record the weakest item from weeks 4-7 and confirm measurable improvement.