UPMSP High School Vocal Music study plan

Define Nada, Shruti, Swara and Saptak in writing with the standard classifications of each (Ahata/Anahata Nada, Shruti count, Shuddha/Vikrit Swara, the three Saptaks) and give one sung example per term

Sing and label all 12 swaras of the Saptak in Aaroh and Avroh on a tanpura or shruti box, naming Komal and Teevra swaras correctly

Write the 10 Thaats in Bhatkhande notation with their Aaroh-Avroh and match each Thaat to at least one Raga you can name

Notate one simple Lakshangeet or Sargam geet in Bhatkhande Swaralipi with correct symbols for Komal, Teevra, Mandra and Taar saptak, and Meend/Kan

Explain the difference between Thaat and Raga aloud in 5 sentences, using two Ragas from the same Thaat as proof

Analyse two prescribed Ragas (for example Bhairav and Yaman) by writing their Thaat, Jati, Vadi, Samvadi, Anuvadi, Vivadi, Varjya swaras, time of day and Aroh-Avroh

Sing the Pakad and Chalan of both Ragas slowly, then build a 4-avartan Vistaar in each without breaking the Raga's grammar

Practise Alankar and Palta sets in at least four Thaats, singing them in Vilambit and Drut laya with a metronome or tabla

Identify five Ragas by ear from recordings and justify each identification using Pakad and Varjya swaras in writing

Compose and notate a short Sargam geet in one of the two Ragas studied

Classify the Ragas in your syllabus into their Janak Thaat and into Poorvang/Uttarang-dominant categories, writing the reasoning for each

Describe Khayal and Dhrupad structurally in writing: Sthayi, Antara, Sanchari, Abhog, and the order of Vilambit-Drut or Sthayi-Antara-Sanchari-Abhog

Sing one Bada Khayal with a short Alaap and Taan sequence, and one Chhota Khayal with a Drut Taan, keeping Sam on the correct matra

Write the notation of one Tarana, one Bhajan and one Geet, marking the Tala and the laya for each

Explain in writing how Tarana differs from Khayal in lyric, bol and ornamentation

Write the Theka of Teental, Jhaptal, Rupak, Dadra, Keherwa and Ektaal in bols and mark X, 0, 2 and 3 correctly

Count and clap the tali and wave the khali for each of those Talas while reciting the Theka at Vilambit and Drut laya

Sing a Khayal composition in Teental and one in Jhaptal while keeping Sam and Khali audible to a listener

Demonstrate Barabar, Dugun and Chaugun laya over one Tala cycle using a metronome, and write which laya suits which vocal form

Explain in writing the terms Sam, Tali, Khali, Vibhag, Matra, Avartan and Laya with one example each

Describe the Tat Vadya family and the Sushir Vadya family in writing, naming at least four instruments in each and their playing technique

Explain the structure of the Tanpura, Sitar, Sarod, Flute and Shehnai, and state which is used as a drone and why

Trace the main developments in Indian music history in order: Prabandha to Dhrupad to Khayal, and the shift from temple to court patronage

List the key inventions and reforms in notation, instrument design and recording, and state what each changed for performers

Match ten instruments to their players or exponents and to the vocal form they best accompany

Summarise the contribution of the major musicologists in your syllabus, naming the specific concept each is known for (for example the Thaat system, the Rag-Ragini system, or a notation method)

Summarise the major composers and their known works or bandish, and state which form each is associated with

Match twenty names to their contribution in a self-made quiz and score at least 16 out of 20

Explain in writing how the shift from the Rag-Ragini classification to the Thaat system changed the way Ragas are taught

Place each musicologist and composer on the history timeline you built in Week 5

Sing daily Alankar, Palta and Sargam sets in all three Saptaks, and record a 10-minute practice session to check pitch and breath control

Perform one complete Lakshangeet and one complete Bhajan from memory with correct Tala and pronunciation

Analyse two pieces of music in writing: identify Raga, Tala, laya, form and the ornamentation used, and state what makes each performance distinctive

Prepare spoken answers to typical viva questions on Raga, Tala, form and instrument identification, and rehearse them aloud

Compare a Khayal and a Bhajan recording of the same Raga and write how the treatment of the Raga changes with the form

Take two full-length timed mock tests covering all nine domains and review every wrong answer back to its source concept

Re-sing the weakest Raga and the weakest Tala from your mock-test errors until Sam and Pakad are secure

Condense all eight weeks of notes into a single revision sheet of definitions, Thaat-Raga tables, Tala charts and name-to-contribution lists

Rehearse the practical set end to end in exam order and time it, so that each item fits its allotted slot

Write a final self-assessment naming three strong areas and three areas to revise on exam morning