KSEAB SSLC Carnatic Music study plan

Define the ten raga lakshana elements (graha, amsa, nyasa, apanyasa, taara, mandra, aarohana, avarohana, vakra, sanchara) in your own words and write one line on how each is heard in practice

Map the 72 melakarta scheme: recite the chakra groupings and derive the swarasthanas of any melakarta number using the katapayadi and bhuta-sankhya rules

Classify ten common janya ragas as varja, vakra, bhashanga or upanga and justify each label with their arohana-avarohana

State the sapta tala names with their angas and jati bhedas, and write the 35 tala table from memory

Write the full alankara swaralipi for one tala in three kalas without consulting notes

Compare five pairs of closely related ragas (for example Shankarabharanam and Kalyani, Mayamalavagowla and Pantuvarali) and list the exact phrase or swara that separates each pair

Identify characteristic prayogas for eight ragas and sing or write two signature phrases for each

Analyse how gamaka defines raga identity in at least three ragas where the same swaras appear but the gamaka differs

Solve ten tala arithmetic problems: compute akshara counts, eduppu positions and total duration for given kala and gati

Notate one alankara in two different talas and mark the eduppu in each

Build a timeline placing the Trinity and at least six pre-Trinity and post-Trinity composers with approximate dates and regions

Summarise the contributions of Tyagaraja, Muthuswami Dikshitar and Syama Sastri in three separate paragraphs covering form preferences, language and stylistic markers

List the standard musical forms in ascending structural order and state the defining features of each

Decode ten swaralipi passages into raga and tala by reading the notation alone

Write correct notation for a geetham or simple kriti with proper spacing, avarohana markers and tala angas

Explain the anatomy of a kriti (pallavi, anupallavi, charanam, chittaswara, swarasahitya) and point to where each section appears in two kritis you know

Describe the construction rules of varnam, swarajati and tillana and distinguish them from kriti

Outline a step-by-step method for building alapana: starting swara, development order, avoiding sangathis that belong to a neighbouring raga

Draft a written alapana plan for one raga naming the phrases you would use in sequence

Explain how niraval is chosen and phrased, and mark a niraval line in a kriti you sing

Explain the rules of kalpana swara: starting point, korvai construction, and how to return to the pallavi cleanly

Construct three korvais on paper with correct arithmetic and resolve each to the eduppu

Describe the physics of pitch and overtones, and explain why the tambura drone supports sruti

Compare the structure and playing technique of veena, violin, flute and mridangam, and state the role of each in a concert

Explain the concept of 22 sruti and how it relates to the twelve swasthanas

Trace the historical arc from Vedic chant through Prabandha to the modern kriti, naming the key transitional forms

Describe the contributions of Purandara Dasa, the Trinity and later figures such as Ariyakudi Ramanuja Iyengar to concert format

Explain the role of the Melakarta reform and later theoretical work in standardising raga classification

Outline the standard concert structure and justify the order of items

Define acoustic terms (frequency, amplitude, timbre, resonance) and connect each to a Carnatic instrument

Sing or write from memory the pallavi of five kritis from your repertoire with correct raga and tala identification

Profile four Kannada composers and their devotional forms, noting language, region and typical compositions

Explain the place of devaranama, ugabhoga and suladi in Kannada devotional music

Identify raga and tala for a set of ten given compositions without hints

Prepare a short repertoire list organised by form and composer

Revise all weak items flagged in earlier weeks and re-test them until each is answered correctly twice

Complete two full timed mock papers covering all nine domains and score them

Recite the 72 melakarta names, 35 talas and ten raga lakshana terms in one uninterrupted pass

Rehearse written answers on manodharma and history to exam length without notes

Consolidate the repertoire sheet and composer profiles into a single revision sheet