BSEH SS Music Vocal study plan

Map the full raga presentation arc (alaap, bandish, vistaar, taan) onto a 20-minute practice routine and record yourself performing it once end to end

Write out aroha, avaroha, pakad, vadi, samvadi and time-of-day for five prescribed ragas from memory, then check each against a reliable reference

Sing the pakad of each of those five ragas in three speeds with tanpura, pausing only to correct a wrong swara

Identify by ear which of the five ragas is being sung when a pakad phrase is played, scoring at least 4 out of 5

Expand alaap in two ragas from a slow opening to a mid-register vistaar using at least three distinct badhat patterns

Compose and sing four tanan patterns (sapat, vakra, gamak-based, bol-taan) in each of two ragas

Sing the full bandish with correct sthayi and antara placement in at least three prescribed ragas

Practise singing each raga strictly within its time-of-day and note the mood difference in a listening log

Sing teental bandish keeping sam, khali and tali audible through hand gestures at 60 and 90 bpm

Build layakari exercises in teental: sing the same bol pattern in barabar, dugun and chaugun against the tanpura

Mark out ektaal and jhaptaal theka on paper and recite the bols aloud while clapping correctly

Align one bandish to the tanpura at a fixed tempo for a full 10 minutes without losing sam

Write the theka of teental, ektaal, jhaptaal, rupak, dadra and keharwa in Bhatkhande notation with correct vibhag and tali-khali marks

Transcribe one bandish into Vishnu Digambar Paluskar notation and then convert the same bandish into Bhatkhande notation

Sing rupak and jhaptaal cycles back to back to internalise the difference between khali-first and tali-first structures

Notate one composed taan and check that the notation can be sung back by someone else

Define nad, shruti, swara, gram and murcchana in your own words and give one worked example of murcchana from a gram

Explain the 22-shruti framework and how the modern 12-svara scale relates to it, without notes

Sketch the raga-ragini classification scheme and list where it departs from modern thaat thinking

Notate a composition of your own in Bhatkhande notation with correct swara symbols and tala markings

Compare three gharana traditions on style markers: ornamentation, tempo preference, bandish repertoire and voice placement

Write short life sketches of four musicians or musicologists covering training lineage, key contributions and one signature composition or work

Contrast dhrupad, dhamar, khayal and tarana on structure, tempo, language and ornamentation in a comparison table

Describe how thumri, bhajan and folk forms differ from khayal in treatment of raga and tala

Sing one dhrupad-style and one khayal-style treatment of the same raga and name the differences in your own performance

Perform a tarana with meaningful bols and keep the rhythm locked to the tala

Sing a thumri or bhajan phrase with appropriate light-classical phrasing and note where raga rules are relaxed

Do a full mock raga presentation under exam timing with tanpura and no stops

Revise all prescribed ragas' aroha, avaroha, pakad, vadi-samvadi and time in a self-quiz until you score full marks twice in a row

Recite and mark all six talas from memory and answer layakari calculation questions under a timer

Answer past-style theory questions on nad, shruti, gram, murcchana and gharana in writing within time limits

Review your weak spots from weeks 1-7 and re-record only the pieces that still falter