Odisha CHSE +2 Vocational Hindustani Vocal study plan

Odisha CHSE +2 Vocational Hindustani Vocal · Give each week a clear focus.

8 weeks · About 7 hours per week

Week 1

Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali) & Notation Systems and Swaralipi Writing (Bhatkhande and Vishnu Digambar systems)

Define and write out the twelve swaras of the saptak in both shuddha and vikrit forms, using Devanagari notation symbols
Distinguish the three saptaks (mandra, madhya, tar) and notate a simple ascending-desending exercise across all three
Map the tala vocabulary (matra, vibhag, sam, tali, khali) onto Teental and Jhaptal by hand-marking a 16-matra and 10-matra cycle
Convert five short swara phrases into Bhatkhande notation and the same five into Vishnu Digambar notation, noting symbol differences
Clap and count laya in vilambit, madhya and drut against a metronome at 40, 80 and 160 BPM

A one-page hand-written reference sheet: 12 swaras with both notation systems, plus marked Teental and Jhaptal cycles showing sam, tali and khali

Week 2

Define aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi and vivadi, and apply each term to two prescribed ragas
Classify each prescribed raga by jati (audav, shadav, sampurna combinations) and state its time of day with reasoning
Write the aroha and avaroha of every prescribed raga from memory and self-check against your notes
Identify the pakad phrase of each prescribed raga and sing it aloud ten times per raga
Build a comparison table separating two ragas that share similar scales

A raga profile card for each prescribed raga listing aroha, avaroha, pakad, vadi, samvadi, jati and time of day, written without looking at notes

Week 3

Notate one vilambit khayal bandish per prescribed raga in Bhatkhande notation, marking sam, tali and khali positions
Notate the matching drut composition for each raga, keeping matra alignment consistent across the tala cycle
Sing each vilambit bandish in correct laya while clapping the tala, then repeat with the drut bandish
Write out the notation of one bandish twice, once in each notation system, and annotate the symbol differences
Record yourself singing one bandish and mark every place where you drifted from sam

A complete swaralipi notebook containing vilambit and drut bandish notation for all prescribed ragas, with tala markings

Week 4

Recite the theka of Teental, Jhaptal, Ektaal, Rupak, Kaharwa and Dadra with correct bols and hand patterns
Mark vibhag divisions and khali positions for all six talas on paper from memory
Recite Ektaal and Rupak at vilambit and madhya laya while maintaining steady matra counting
Practise sight-singing: read an unseen eight-matra swara passage and sing it in tune with the tala
Perform one raga presentation end to end (alap, bandish, vistaar, taan) and time it

An audio recording of all six thekas recited with correct tali and khali, plus one full raga presentation of at least six minutes

Week 5

Write short biographical notes on each prescribed historical and modern musician, listing one specific contribution each
Distinguish Dhrupad, Dhamar, Khayal, Thumri, Tappa and Tarana by structure, tempo, language and ornamentation
Map at least four gharana traditions to their characteristic stylistic features and representative ragas
Listen to one recorded example of each vocal style and write three identifying features you heard
Explain how gharana lineage transmission shaped repertoire and style

A comparison chart covering all six vocal styles and four gharana traditions, plus musician notes with one dated contribution each

Week 6

Sing vilambit and drut compositions in each prescribed raga while reciting the tala bols simultaneously
Improvise a short alap in each raga using only phrases that stay within its pakad and chalan
Practise taan patterns in drut laya, keeping sam landing accurate across four cycles
Recite all six thekas at drut laya without losing vibhag placement
Identify and correct three recurring faults in your own recordings

A self-assessment log listing every sam landing error and out-of-raga phrase across all recorded practice takes, with corrections noted

Week 7

Design and follow a daily 20-minute voice warm-up covering pitch settling, breath support and safe upper-register work
Apply a structured practice method: slow laya first, then madhya, then drut, logging time spent at each stage
Write a critical appreciation of one khayal performance, commenting on raga treatment, laya control and aesthetic effect
Revise all raga lakshana terms and re-test yourself on raga identification from pakad phrases only
Check vocal health habits: hydration, rest, and avoiding strain during long practice

A written critical appreciation of one performance plus a completed weekly practice log with warm-up and laya-stage timings

Week 8

Perform a full raga presentation with vilambit and drut compositions, alap and taan, without reference notes
Recite all six thekas and mark their tali and khali positions on paper under timed conditions
Complete a timed sight-singing test on unseen swara passages in both notation systems
Revise notation symbols from both systems and convert three phrases between them under time pressure
Run two full mock examinations covering all nine domains and review every wrong answer

A complete mock examination attempt scored by domain, with a written list of weak areas and a revision checklist

Week 2: Can state aroha, avaroha, pakad, vadi, samvadi, jati and time of day for every prescribed raga without notes

Week 4: Can recite all six talas with correct tali and khali, and perform one raga presentation of six minutes or longer

Week 6: Can sing vilambit and drut compositions in every prescribed raga while keeping sam accurate across four cycles

Week 8: Scores at least 70 percent on a full mock examination across all nine domains, with no domain below 50 percent