BSEH Secondary Music Instrumental study plan

Define saptak, swara, shruti, and the 22-shruti framework in your own words, then write a one-page glossary of 25 core terms with a correct example for each

Map the 12 swarasthanas across the three saptaks (mandra, madhya, tar) and mark komal, tivra, and shuddha positions on a hand-drawn fretboard or keyboard diagram

Distinguish nada, shruti, swara, and sthayi by writing a short paragraph on how each level relates to the next

Solve 20 self-written identification drills (given a swara name, state its shruti position and whether it is komal, tivra, or shuddha) and score at least 18/20

Explain the concepts of aroha, avaroha, vadi, samvadi, anuvadi, vivadi, and pakad, and apply each to two ragas you already sing or play

Classify the ten thaats of the Bhatkhande system and assign at least one prescribed raga to each thaat

Define janak and janya raga and sort five prescribed ragas by thaat membership and by time of day

Write aroha and avaroha in swara notation for three prescribed ragas from memory, then check against a reference

Analyze four prescribed ragas in depth: state aroha, avaroha, vadi, samvadi, pakad, and time of day for each, and identify the two or three phrases that separate each from its nearest neighbour

Compare two same-thaat ragas and write the distinguishing phrase pairs that keep them apart

Memorize pakad patterns for five prescribed ragas and recite them aloud or on your instrument without reference

Answer 15 self-written raga-identification prompts built from aroha fragments and score at least 13

Define matra, vibhag, sam, tali, khali, and laya, and draw the vibhag structure of five prescribed talas with sam and khali marked

Explain the difference between vilambit, madhya, and drut laya and demonstrate each by counting one tala at three speeds

Write the theka in bols for three prescribed talas and recite each while marking vibhag by hand

Convert a tala cycle into a bar-and-beat diagram and use it to count one composition end to end

Notate one composition in Bhatkhande notation, correctly placing bar lines, vibhag marks, sam, and khali symbols

Notate the same composition in Vishnu Digambar Paluskar notation and list the symbol differences between the two systems

Transcribe a short aroha-avaroha passage from one notation system into the other without losing pitch or rhythm information

Identify and correct five deliberately mis-notated phrases, naming the specific symbol error in each

Describe the structure of khayal (sthayi, antara, and the role of bol-alap and taan) and of dhrupad (sthayi, antara, sanchari, abhog) in a written outline of each

Compare tarana, bhajan, and one folk form on language, structure, and typical accompaniment, filling in a comparison grid

Notate the sthayi of one khayal and one bhajan in the notation system of your choice

Explain how a composition's structure maps onto the tala cycle, using one example counted through all vibhags

Classify instruments into tat vadya, sushir vadya, avanaddh vadya, and ghan vadya and place ten instruments, including at least four Hindustani instruments, into the correct class

Describe the structure and tuning approach of tanpura, tabla, and sitar, and explain what the drone contributes to a performance

Practice one prescribed raga with alankar patterns for 20 minutes daily, recording each session

Keep tala with hand claps and waves through a full cycle of two prescribed talas at drut laya without losing sam

Consolidate all earlier deliverables into one indexed revision file organized by domain

Answer 40 mixed self-written questions across all seven domains under timed conditions and score at least 34

Perform one prescribed raga with a composition in a prescribed tala, announcing aroha, avaroha, vadi, samvadi, and tala structure before playing or singing

Re-drill every item missed in the timed test until each is answered correctly twice in a row