BSEB Matric Music study plan

Define aroha, avaroha, pakad, vadi, samvadi, and time-of-day for each of the 10 prescribed ragas (e.g., Yaman, Bhairav, Bhairavi, Bihag, Khamaj, Des, Tilak Kamod, Kafi, Asavari, Jaunpuri).

List the prescribed ragas and their thaat classification, then group them by time of day (morning, afternoon, evening, night).

Sing or play the aroha and avaroha of each prescribed raga accurately at a slow tempo, checking against a reliable reference.

Write the pakad (catch phrase) for each raga in swara notation, noting any characteristic phrases.

Identify vadi and samvadi swaras for each raga and explain how they shape the raga's mood.

Define and give examples of the 12 swaras (shuddha, komal, tivra) and explain the concept of saptak (mandra, madhya, taar).

Explain the difference between naad and shruti, and describe the 22 shruti concept in Hindustani music.

Practice writing and singing the 10 alankars (palta) in at least three prescribed ragas, focusing on accurate intonation.

Compare and contrast the aroha-avaroha of two ragas with the same thaat but different pakad (e.g., Bihag and Tilak Kamod) to highlight distinguishing phrases.

Explain how vadi and samvadi influence the elaboration (vistar) of a raga.

Define matra, vibhag, theka, laya, tali, and khali, and explain their roles in tala.

Write the theka (in bols) for the prescribed talas: Teentaal, Ektaal, Jhaptaal, Rupak, and Keherwa, marking tali and khali.

Practice clapping and reciting the theka of each prescribed tala at a steady tempo, identifying sam, tali, and khali.

Explain the difference between theka and other rhythmic patterns (e.g., kayda, palta) in tala presentation.

Compute the number of matras, vibhags, and the positions of tali and khali for each prescribed tala.

Integrate raga and tala knowledge by singing a simple composition (e.g., a sargam geet or lakshan geet) in a prescribed raga set to a prescribed tala, keeping accurate laya.

Demonstrate the ability to keep tala with hand gestures while singing the aroha-avaroha of a prescribed raga.

Explain the concept of laya (vilambit, madhya, drut) and practice singing a composition in two different layas.

Perform a short alankar pattern in a prescribed raga, maintaining the tala cycle.

Prepare for oral viva by explaining the key features of one prescribed raga and one prescribed tala in your own words.

Compare the Bhatkhande and Vishnu Digambar Paluskar notation systems, noting symbols for swara, octave, komal/tivra, and rhythmic markers.

Write the notation of a simple composition (e.g., a khayal or bhajan) in both notation systems.

Explain the advantages and limitations of each notation system.

Notate the theka of two prescribed talas using both systems.

Practice reading notation from both systems and singing the corresponding swaras.

Outline the history of Indian music from Vedic period to modern times, highlighting key milestones.

List the contributions of major acharyas (e.g., Bharata, Matanga, Sarangadeva, Amir Khusrau, Tansen, Bhatkhande, Paluskar) and their works.

Describe the musical forms: dhrupad, khayal, tarana, bhajan, and folk forms of Bihar (e.g., Chaiti, Kajari, Sohar, Jhijhiya).

Explain the structural differences between dhrupad and khayal.

Identify the characteristics of a tarana and a bhajan, and give an example of each.

Classify Indian musical instruments into tata (string), sushir (wind), avanaddha (percussion), and ghan (idiophone), giving examples of each.

Describe the structure and playing technique of at least one instrument from each category (e.g., sitar, flute, tabla, jaltarang).

Explain the role of accompaniment instruments in Hindustani music (e.g., tabla, harmonium, tanpura).

Identify the instruments used in the folk music of Bihar (e.g., dholak, nagara, bansuri, sarangi).

Compare the classification systems of instruments in ancient and modern contexts.

Review all prescribed ragas and talas, ensuring accurate aroha-avaroha, pakad, and theka.

Practice singing a composition in each prescribed raga, focusing on expression and tala accuracy.

Simulate an oral viva by answering questions about raga and tala theory, notation, and instrument classification.

Take a full-length mock test covering all domains, and review incorrect answers.

Refine performance of one raga and one tala for the final practical exam.