RBSE SS Sitar study plan

Map the lineage of the sitar from Amir Khusrau-era legends through the Rabab-to-sitar transition to the modern instrument, writing a dated timeline of at least 12 entries with the source of each claim noted.

Distinguish the major stylistic schools (Imdadkhani/Masitkhani lineage, Rampur-Sahaswan, Maihar, and others) by listing for each: founding figure, region, and one hallmark of technique or gat style.

Define and correctly apply the core swar vocabulary: the 12 swaras, shuddha/vikrit, saptak, and the meaning of achala/chala swara, writing one-line definitions in your own words.

Explain the theoretical framework of that, jati, vadi, samvadi, anuvadi, and vivadi, and classify three ragas by jati (audav, shadav, sampurna) from their aroha-avaroha.

Build a personal glossary of at least 30 terms covering Domains 1 and 3 and self-quiz until you can define 25 of 30 from memory.

Write the aroha and avaroha for each prescribed raga in both Sargam and note-name form, marking vadi, samvadi, and time of day for each.

Identify the pakad (characteristic phrase) of each prescribed raga and notate it accurately, then sing or play each pakad from memory without the notation.

Compare at least two same-that ragas from your prescribed list and state in writing the specific phrases that distinguish them.

Analyze how vadi and samvadi placement shapes the chalan of each raga, writing a two-sentence chalan summary per raga.

Self-test: given an aroha-avaroha only, name the raga correctly for at least 80% of your prescribed list.

Notate and then play the full chalan of each prescribed raga slowly, keeping the pakad rhythmically intact and in correct order.

Perform alap in each prescribed raga in at least three stages (slow unmetered expansion, mid-register movement, upper-register reach) without losing raga identity.

Connect jod to alap by moving into pulse-based playing while preserving the raga's phrases, and record yourself doing it for two ragas.

Play jhala in at least two prescribed ragas at a steady fast tempo with clean chikari strokes and no loss of clarity.

Review recordings against your raga chart and list every phrase where you drifted outside the raga.

Define laya (vilambit, madhya, drut) and the concept of laya-bant, and demonstrate each by clapping a fixed cycle at three speeds.

Master the structure of Teental, Jhaptal, Rupak, and Ektaal: write each theka in bols and mark tali, khali, and sam.

Compare the Bhatkhande and Vishnu Digambar notation systems: state the symbol conventions of each for sam, khali, komal swara, and octave marks, and convert one composition from one system to the other.

Notate one prescribed raga composition in both systems and verify the conversions are internally consistent.

Practice reciting theka in bols while keeping sam accurately at vilambit and drut laya.

Define gat and distinguish masitkhani from razakhani by tempo, stroke pattern, and phrase density, writing a comparison table.

Notate one masitkhani gat and one razakhani gat in the same prescribed raga and mark sam, tali, and khali.

Compose or set a tarana in a prescribed raga using meaningful syllables and fit it to a tala cycle, notating it fully.

Play each composition with a tala track or metronome, landing on sam consistently at vilambit and drut speeds.

Explain in writing how tala accompaniment (tabla theka) supports gat phrasing, and identify what a sitar player must listen for at sam and khali.

Identify every part of the sitar (tabli, tumba, dand, gulu, jawari, bridges, pegs, sympathetic strings, frets, mizrab) and state the function of each from memory.

Explain the tuning of the main playing strings and sympathetic strings, and tune your instrument unaided while checking with a tuner.

Describe routine maintenance: cleaning, bridge and jawari care, string replacement, fret adjustment, and humidity control, and perform one maintenance task.

Diagnose three common problems (buzzing, false jawari, slipping peg) and write the likely cause and fix for each.

Perform a full alap-jod-jhala-gat sequence in one prescribed raga with tala accompaniment and record it end to end.

Profile at least five prominent sitar players or composers, listing for each: era, gharana or lineage, and one specific contribution to technique, repertoire, or instrument design.

Identify key contributors to the instrument's structural evolution and state what each changed.

Relate each profiled artist's style back to the gharana map from Week 1, noting continuities and breaks.

Play one composition associated with a studied lineage and articulate in writing what makes its phrasing characteristic.

Run a mixed self-test of 20 questions spanning Domains 1, 3, 5, and 8 and score at least 16.

Perform a full raga presentation (alap, jod, jhala, masitkhani gat, razakhani gat, tarana) in one prescribed raga without notation.

Perform a second prescribed raga presentation at reduced scope (alap, jod, one gat) to test transfer between ragas.

Complete two timed mock exams covering all eight domains and review every wrong answer to a correct explanation.

Revisit the weakest two domains from mock results and close each gap with targeted drilling.

Finalize a one-page quick-reference sheet of ragas, talas, notation symbols, and artist profiles for last-week review.