Odisha CHSE +2 Vocational Flute / Violin / Sitar study plan

Define nada, ahata/anahata nada, swara, shruti, and saptak in your own words and write one exam-style answer for each term

Map the seven shuddha swaras to their komal and tivra variants on your instrument and play each ascending and descending without looking at the fretboard or fingerboard

Identify the placement of the 22 shrutis on your instrument's octave and explain in writing why practical tuning uses fewer than 22 distinct positions

Tune your instrument by ear to the tanpura or drone reference daily, recording the starting and ending pitch match in cents or by ear-judgement notes

Notate one simple alankara in Bhatkhande-style sargam notation with correct bar lines, matra numbers, and octave dots

Write the full theoretical structure of teental, jhaptal, rupak, kaharwa, and dadra including matra count, vibhag division, tali, khali, and sam

Clap and recite the theka of all five talas at a steady 60 bpm while marking tali and khali with the correct hand gestures

Notate two fixed compositions in sargam for each of the five talas and align every phrase to its matra

Practise single-speed layakari (barabar) and identify where each phrase lands relative to sam

Explain the difference between sama, visama, and atit-anagat phrasing in writing with one notated example each

Build a reference table for three prescribed ragas listing aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Play the pakad of each of the three ragas ten times daily until it is recognisable without notation

Identify and correct intonation errors on komal and tivra swaras by comparing each note against the drone

Practise mizrab or bowing strokes for at least two stroke patterns per raga phrase and note which pattern suits which phrase

Analyse how the vadi and samvadi shape the phrase movement in each raga and write two sentences per raga

Expand the raga table to five ragas with complete aroha, avaroha, pakad, vadi, samvadi, time, and rasa entries

Play a slow khayal or gat in each raga with correct vistaar or alap phrases and no notation dependence

Improvise three alankara patterns in each raga that stay within the raga's allowed swaras

Compare two ragas with overlapping swaras and write how the pakad distinguishes them

Perform one raga end to end for a listener and note where the raga identity blurred

Practise dugun and tigun layakari in teental and jhaptal against a metronome, starting at 50 bpm and building to 80 bpm

Keep sam stable across a 10-minute teental cycle while varying laya in controlled steps

Compose one short tihai that lands exactly on sam in teental and notate it with matra counts

Play a composition in rupak and dadra and demonstrate the khali section without losing the cycle

Record and review your laya drift by counting matras against a metronome click

Refine tone production with long-tone exercises on open strings or fixed notes for 15 minutes daily, listening for steadiness and absence of scratch

Practise three fingering or stroke patterns at slow, medium, and fast speeds and note which speed exposes tension

Play two prescribed compositions from memory with correct tuning maintained throughout

Record a solo segment and mark every intonation or rhythm slip with its timestamp

Adjust posture, hand angle, or bow pressure based on the recorded review and re-record the same segment

Write a one-page history of your instrument covering origin, structural evolution, and regional spread

List the major gharanas or stylistic schools associated with your instrument and one distinguishing feature of each

Summarise the contributions of at least four leading exponents with one specific contribution per name

Link each exponent or gharana to a raga or technique you already play and demonstrate that link

Answer three exam-style short questions on history and gharanas under timed conditions

Perform a full solo in two prescribed ragas with alap or vistaar, composition, and a tihai within a 20-minute limit

Run a mock practical exam covering tuning, swara drills, theka recitation, and raga identification from pakad

Revise the complete raga and tala tables and self-test until all entries are recalled without notes

Review all recorded errors from weeks 4 to 7 and confirm each has been corrected

Rehearse the presentation order and timing of your solo so it fits the exam format