KSEAB SSLC Hindustani Music study plan

Define and distinguish the twelve svaras (shuddha and vikrit), and label komal/tivra variants on a written saptak chart from memory

Construct Bilawal, Khamaj, and Bhairav thāṭs by writing their ascending and descending svaras, and state which svaras are altered in each

Explain the difference between thāṭ, rāga, and scale in 100 words, giving one example where two rāgas share a thāṭ but differ in chalan

Write the full svaralipi symbols used for āroha, avaroha, meend, kan-svar, and dirgh svar, and apply them to a four-line sargam exercise

List the ten prescribed rāgas and write each one's āroha-avaroha with correct komal/tivra markings

Identify each rāga's vādi, samvādi, and time of day, and justify the time classification for at least four rāgas

Classify each prescribed rāga by thāṭ and by jāti (audav, shadav, sampūrṇa), building a comparison table

Sing or play each āroha-avaroha three times while naming the svaras aloud, to link theory with sound

Write the theka of Teental, Jhaptal, and Keherwa in notation, marking sam, tāli, and khāli

Clap and recite each of the three tālas at a steady tempo while counting the mātrās aloud, then notate a four-mātrā phrase across the sam

Identify the pakad and characteristic phrases of each prescribed rāga and write two pakad lines per rāga

Explain how laya (vilambit, madhya, drut) changes the notation of the same composition

Analyze one bandish in each of three prescribed rāgas: identify sthayi, antara, and where sam falls in the lyric

Write the full svaralipi of one bandish with tāla markings aligned to the mātrās

Compare bandish, tarana, and dhrupad structure, listing the defining features of each in note form

Perform one bandish end-to-end with correct sam placement and at least one improvised ālāp phrase

Notate a tarana using its characteristic syllables and align it to a tāla cycle

Write a sargam geet or lakshan geet in notation, applying dirgh and komal svar marks correctly

Transcribe a short recorded phrase by ear into svaralipi and compare it with the written source

Revise all notation symbols and correct three deliberate errors in a self-made notation exercise

Perform āroha-avaroha, pakad, and one bandish in three prescribed rāgas without notation, at correct tempo

Sustain a single rāga for eight minutes including ālāp, bandish, and a short vistār section

Practise one composition in vilambit and drut laya with a metronome or tabla track, keeping sam steady

Record yourself and mark three specific faults (svara accuracy, sam placement, breath or bow control) to fix

Perform two compositions in different tālas while keeping tāli and khāli audible through hand gestures

Demonstrate layakari by rendering one phrase in barābar, dugun, and chaugun

Perform a tarana or second composition from memory with clean sam entry

Run a full mock practical: āroha-avaroha, pakad, bandish, tarana, and tāla recitation in one sitting

Summarize the contributions of at least six musicians or theorists, stating one specific contribution each

Trace the broad development of Hindustani music from prabandha to dhrupad to khayal in a dated outline

Revise all ten rāgas and three tālas using spaced self-testing, targeting any item scored below 8 in week 7

Answer a set of mixed theory questions under timed conditions and correct every wrong answer with a written reason