PSEB SS Music Instrumental study plan

List every prescribed raga from your board syllabus, then tabulate aroha, avaroha, pakad, vadi, samvadi and time of rendition for the first three of them, leaving blank any field you cannot verify from your textbook.

Play the aroha and avaroha of those three ragas slowly on your instrument, stopping at each wrong swara and correcting it before moving on.

Write each pakad in Bhatkhande-style notation with matra bars, marking komal/tivra swaras and mandra–madhya–taar register dots.

Record a two-minute baseline of your best raga so later progress can be compared.

Complete the same six-field dossier for every remaining prescribed raga and consolidate them onto a single master chart.

Draw a 24-hour samay timeline and place each raga on it, noting which ragas share a time slot and why.

Notate one full gat (sthai plus antara) with matra numbers above each swara, then play it strictly from your own notation to test its accuracy.

Identify vadi and samvadi of each raga by ear from recordings and mark any disagreement with your chart for review.

Write the theka of Teentaal, Jhaptaal, Roopak, Ektal, Dadra and Keherwa with matra numbers, vibhag divisions and tali/khaali symbols.

Recite each cycle aloud with hand claps and waves at barabar and dugun laya until the tali-khaali pattern is automatic.

Rewrite your week-2 gat inside a Teentaal frame, aligning every swara to its matra and marking sam, tali and khaali positions.

Notate one sargam-based composition and one Todas/Taan passage, showing how a phrase crossing a vibhag is written.

Solve thirty self-made matra-counting and notation problems (locate sam, identify vibhag, convert barabar to dugun) and log every mistake.

Compare pairs of prescribed ragas that share a time slot, writing one line on the aroha/avaroha feature that separates them.

Write from memory the sargam of one prescribed composition and check it against the source text.

Sit a 45-minute closed-book self-test covering ragas, taala and swarlipi writing.

Draw and label your instrument's parts (strings, bridge/jawari, pegs, nut, resonator, skin where applicable) and write the tuning sequence step by step.

Tune the instrument against a drone, noting the starting pitch, and record the tuning both before and after adjustment.

Compile a maintenance checklist covering string replacement, bridge and jawari care, peg tightness, cleaning and humidity/temperature control.

Define ten core terms (meend, kan, gamak, murki, andolan, alankar, jod, jhala, laya, theka) in one line each with a played or sung example.

Trace in five dated bullet points how Hindustani music moved from prabandha and dhrupad to khayal and instrumental tantrakari.

Write 150-word life sketches of five prominent instrumentalists or musicologists, each stating one specific contribution and one signature raga, baaj or text.

Build a comparison table mapping at least four gharanas or baaj (for example Imdadkhani/Etawah, Maihar, Senia, and gayaki versus tantrakari ang) to their instrument, region and stylistic markers.

Explain aloud how baaj differs from gharana and give one concrete playing feature that identifies each style.

Match each of the five figures to the gharana or tradition they are associated with, without notes.

Rehearse a five-minute rendition of one prescribed raga covering alap, jod, gat and at least one taan or toda, timed with a stopwatch.

Record the rendition and score it against a self-made rubric covering tuning, swara cleanliness, taala alignment and structure.

Prepare and answer aloud twenty likely viva questions on raga identification, taala counting, instrument care and terminology.

Revise the raga master chart and taala chart, reciting time of rendition and tali-khaali positions from memory.

Sit two full-length timed mock papers covering all eight domains and score each against the answer key.

Rework every item in the error log from weeks 4 and 7 until each can be answered correctly without reference.

Reconstruct the raga master chart and taala chart from blank paper, then fill any gap found.

Do a final run-through of the practical piece and viva answers, tightening tuning and taala alignment.