Maharashtra HSC Percussion study plan

Maharashtra HSC Percussion · Give each week a clear focus.

8 weeks · About 7 hours per week

Week 1

Practical Performance: Solo Rendition of Prescribed Talas & Tala Theory: Structure, Matra, Vibhag, Talee, Khali and Avartan

Map the prescribed tala list against the syllabus and rank each tala by current fluency, recording the ranking in a practice log
Practise the solo rendition of the heaviest tala in slow laya for 20 minutes daily, keeping a steady avartan count aloud
Recite the theka of each prescribed tala in ekgun while marking talee with the right hand and khali with the left
Write out matra, vibhag, talee and khali positions for every prescribed tala on a single reference sheet
Record a baseline audio of one full solo rendition to compare against at week 8

A completed tala reference sheet plus a baseline recording of one solo rendition with a written self-assessment of weak spots

Week 2

Build a 6-minute solo structure for the primary tala: theka, one kayada with four paltas, one tukda, one rela
Practise each kayada palta in ekgun and dugun without losing the sam
Define kayada, palta, rela, tukda and chakradar in your own words with one notated example each
Count and mark khali correctly in all prescribed talas at dugun speed
Identify the sam by ear on at least ten randomly started cycles of the primary tala

A written 6-minute solo sequence for the primary tala with all compositions notated and timed

Week 3

Add a chakradar and a gat to the primary tala solo and rehearse the full sequence end to end three times
Recite the full solo sequence in padhant, keeping syllable articulation clean at ekgun
Introduce layakari in the solo: perform one passage in 3/4 laya and one in 5/4 laya over the same theka
Practise padhant of one kayada with paltas while a metronome marks the matra
Notate the chakradar so that each repetition and the sam landing are unambiguous

A complete notated solo score for the primary tala including chakradar and gat, recited once in padhant without breaks

Week 4

Extend the solo to a second prescribed tala using a different composition set
Perform barabar, dugun and chaugun of one tukda against a metronome and log the sam accuracy
Recite padhant of the second tala solo at three speeds with correct talee and khali markings
Analyse one paran for its tala, division pattern and sam placement, then notate it
Run a full mock performance of both solos with no stopping

A timed mock performance recording of two full solos with a written sam-accuracy log for each speed

Week 5

Write the primary and secondary tala solos in a consistent notation system with matra numbers, vibhag bars and talee/khali symbols
Convert one kayada from notation back into padhant and check it against the original recording
Compose one original tukda in a prescribed tala and notate it fully
Practise padhant of a chakradar at dugun while marking the cycle with a clap
Cross-check your notation symbols against a second accepted convention and note the differences

A clean notation workbook containing both solos, the original tukda, and a symbol key with convention notes

Week 6

Inspect the instrument part by part and write a maintenance checklist covering skin, straps, tuning and storage
Tune the instrument and document how pitch changes with strap tension and ambient humidity
Rehearse accompaniment for a simple melodic line or song, following the vocalist's sam rather than your own
Practise giving sangat for a fixed composition at ekgun and dugun, matching dynamics to the melody
Identify three common instrument faults by sound and state the corrective action for each

A one-page instrument maintenance and tuning checklist plus an accompaniment recording showing matched dynamics

Week 7

Build a timeline of major percussion gharanas with their key stylistic markers and representative compositions
Write short profiles of four landmark performers covering style, gharana and contribution
Explain how gharana style shows up concretely in baaj, bol choice and composition structure, with examples from your own repertoire
Revise tala theory using spaced recall: matra, vibhag, talee, khali and avartan for all prescribed talas
Notate one composition in the style of a second gharana and annotate the stylistic differences

A gharana comparison chart plus four performer profiles and one annotated cross-gharana notation

Week 8

Run three full mock practical exams covering solo, padhant and oral theory questions
Compare the week 8 recording against the week 1 baseline and list concrete improvements
Recite padhant of every prescribed tala's theka at ekgun and dugun from memory
Rehearse spoken answers on gharana history and instrument care to exam-question phrasing
Finalise a one-page revision sheet of tala structures, notation symbols and gharana markers

A final mock exam recording plus a one-page revision sheet and a written baseline-versus-final comparison

Week 2: Can perform and recite the primary tala solo sequence through one kayada with four paltas, one tukda and one rela without losing sam

Week 4: Two full solos performed end to end in a timed mock, with sam accuracy logged at barabar, dugun and chaugun

Week 6: Both solos fully notated in a consistent system and an accompaniment recording shows dynamics matched to a melodic line

Week 8: Three mock practicals completed, all theka padhant from memory, and a written comparison against the week 1 baseline