PSEB SS Music Vocal study plan

Perform aroha and avaroha of Bhoopali and Yaman aloud from memory at a steady tempo, correcting any wrong swara immediately

Identify and sing the pakad of Bhoopali and Yaman, then explain in one sentence how each pakad reveals the raga's shape

State vadi, samvadi, and time of day for both ragas and justify the time classification using purvang-uttarang logic

Practise a simple sargam-based composition (bandish or lakshan geet) in one raga with correct sam placement on tabla or metronome at 60 bpm

Record a 3-minute voice memo of aroha-avaroha plus pakad for both ragas and self-mark errors against a written checklist

Perform aroha, avaroha, and pakad of Bhairav and Bhairavi from memory, keeping komal re and komal dha accurate in Bhairav

Sing a slow khayal sthayi in one of these ragas and hold vilambit laya with the tabla for at least two avartans without losing sam

Explain the difference between Bhairav and Bhairavi in terms of swara placement and time of day, in your own words

Practise aroha-avaroha of two additional ragas of your choice and note which thaat each belongs to

Analyse one recorded performance (any artist) and write down where the artist touches the pakad phrases

Sing Teentaal theka bols (dha dhin dhin dha...) aloud while clapping tali and waving khali on the correct matras

Perform a composition in Teentaal and mark sam, tali, and khali positions on the notation before singing

Notate one bandish in swar-lipi with matra numbers, avartan lines, and bols aligned under the swaras

Practise the same composition at three layas (vilambit, madhya, drut) and keep sam stable at each speed

Define laya, matra, vibhag, tali, khali, and avartan in writing with one example each

Sing the theka and one composition in Jhaptaal (10 matras) and Rupak (7 matras), naming tali and khali matras for each

Write out a composition in notation using a consistent symbol set for komal, tivra, and mandra/taar octaves

Perform a short alap in any studied raga, expanding phrases gradually from mandra to taar saptak

Notate and then sing a sargam geet or lakshan geet, checking that notation and performance match exactly

Count and mark the sam of a recorded tabla solo excerpt by clapping along

Write the ascending and descending swara sets of all ten thaats and place each studied raga under its thaat

Identify the interval pattern (semitones) of Bilawal, Khamaj, and Kalyan scales and explain which notes differ

Compare two ragas that share a thaat (for example Bhoopali and Deshkar, or Yaman and Bhupali-type pairs) and list at least three distinguishing phrases

Sing komal and tivra variants of the same swara in sequence to train pitch discrimination

Build a comparative table of five studied ragas with aroha, avaroha, pakad, vadi, samvadi, and time

Summarise the major milestones in Hindustani music history from Vedic chant through dhrupad, khayal, and the modern era in a dated timeline

Name the key features of at least four gharanas (for example Gwalior, Kirana, Agra, Patiala) and one distinguishing stylistic trait of each

List five major contributors with one specific contribution each (for example notation reform, gharana founding, or instrument adaptation)

Explain the role of tanpura, its tuning procedure, and how to adjust sa to a singer's comfortable pitch

Describe how tabla and harmonium function as accompaniment and how a singer signals sam and tempo changes

Perform a full 10-minute set: alap, sthayi, one antara, and a few tans in a single raga with tabla accompaniment or metronome

Sing two Punjabi folk forms (for example Tappa-style or Boliyan and a Suhag or Ghorian verse) with correct dialect phrasing and rhythm

Explain the distinguishing features of Punjabi folk traditions and how folk melody differs from raga-based singing

Practise one tappa or folk-style piece and mark its rhythmic cycle in notation

Review weak spots from earlier weeks and drill the two ragas you are least confident in

Revise one-page summaries of all eight domains and recite key definitions, thaat assignments, and tala structures from memory

Perform two ragas back-to-back with correct time-of-day justification and clean sam placement

Complete a timed mock written test covering raga theory, tala notation, history, and folk music, then review every wrong answer

Re-record the week 7 set and compare it against the earlier recording to confirm improvement

Notate one unseen bandish from a recording you know well, using your own consistent notation system