PSEB Matric Music Instrumental study plan

Define nada (anahata and ahata), swara, shruti, saptak (mandra, madhya, tar) and laya (vilambit, madhya, drut) in your own words and write each definition in one or two sentences

Map the 22 shruti positions to the 12 swaras of the saptak and explain in writing why shruti and swara are not one-to-one

Distinguish the four types of laya and calculate the matra rate for a tala at 60 BPM versus 120 BPM

List the ten characteristics of a raga (aroha, avaroha, pakad, vadi, samvadi, jati, time, varjit swara, etc.) and write a one-line meaning for each

Classify ragas into sampurna, shadav and audav jati and give two examples of each from memory

Write the full aroha, avaroha, pakad, vadi, samvadi, jati and time of performance for the first two prescribed ragas without looking at notes

Compare those two ragas in a side-by-side table showing shared swaras, differing swaras and the phrase that distinguishes them

Identify each prescribed raga from a written description of its pakad alone

Explain how time of performance (samay chakra) relates to the purvang and uttarang of a raga

Sing or play the aroha and avaroha of each prescribed raga while naming every swara aloud

Complete the same seven-lakshana profile for the remaining prescribed ragas

Group the prescribed ragas by thaat and by jati, and state which pairs are most often confused and why

Write the pakad of every prescribed raga and mark the vadi and samvadi swara inside each phrase

Answer five practice questions on raga identification and time of performance under timed conditions

Detect and correct any wrong varjit swara in your own written profiles

Define matra, vibhag, sam, tali and khali and mark each on a written tala diagram

Write the notation of each prescribed tala in Bhatkhande notation with correct vibhag lines and tali/khali symbols

Clap and recite the theka of each prescribed tala at vilambit and madhya laya while counting matras aloud

Distinguish the notation symbols used for sam, tali, khali and vibhag and explain what each conveys to a performer

Compose the notation of a sargam geet and a lakshan geet in one prescribed raga

Write the same simple composition in both Bhatkhande and Vishnu Digambar notation and list every symbol that differs between the two systems

Notate a bandish with sthai and antara, marking sam, tali, khali and the vibhag boundaries correctly

Explain the difference between sargam geet, lakshan geet and bandish in terms of purpose and structure

Convert a short passage from Bhatkhande notation into Vishnu Digambar notation without losing matra placement

Identify and fix notation errors in three deliberately faulty examples you write yourself

Outline the main periods of Indian music history and state one defining development for each

Describe what a gharana is and name the principal tabla and vocal gharanas with one distinguishing feature of each

Write short life sketches of the prescribed musicians covering birth period, gharana or tradition, and major contribution

Classify musical instruments into the four traditional categories (tata, sushira, avanaddha, ghana) and place each prescribed instrument correctly

Describe the structure and tuning of the tabla and one melodic instrument, including which part is adjusted to set pitch

Practise and record the prescribed alankaras and a short raga rendition with correct aroha-avaroha and pakad placement

Play or recite the theka of each prescribed tala on tabla or by clap-and-count at three laya speeds

Perform one bandish with sthai and antara while keeping tala cycles steady and marking sam clearly

Self-assess each recording against a checklist of swara accuracy, laya steadiness and correct sam placement

Rehearse accompaniment: hold a steady theka while a partner performs a raga phrase

Revise all definitions and lakshanas using your own summary sheets from weeks 1 to 6

Take two full-length mock tests under exam timing and score them honestly

Re-drill every question you answered wrongly until you can explain the correct answer without notes

Recite from memory the aroha, avaroha, pakad and samay of every prescribed raga and the notation of every prescribed tala

Review the notation symbols of both systems one final time and confirm no mix-ups remain