UPMSP Class 12 Vocal Music study plan

Sing the vilambit khayal bandish of Raag Yaman in Teentaal with correct sam placement, recording each attempt and noting where sam drifts

Map the aroha and avaroha of Raag Yaman, Bhairav and Bhairavi onto a written saptak diagram, labelling each swar as shuddha, komal or tivra

Practise 20 minutes of daily paltas in the lower and middle saptak to stabilise breath and pitch before adding alaap

Define swar, shruti, saptak, laya, matra, sam, tali and khali in your own words in a notebook, one sentence each

Count and clap the theka of Teentaal at 60 BPM while singing a simple sargam phrase, marking tali with a clap and khali with a silent wave

Build a written alaap in Raag Yaman that ascends from madhya saptak to taar saptak in at least eight phrases, each phrase resolving on a held note

Sing drut khayal in Yaman with three tihais, placing each tihai so the final note lands exactly on sam

Write out the theka of Teentaal, Ektaal, Jhaptaal, Rupak, Dadra and Keherwa in both Bhatkhande and Paluskar notation symbols

Practise layakari in Teentaal: sing one phrase in barabar, dugun and chaugun laya against a metronome, noting which speed breaks your clarity

Identify tali and khali positions of Ektaal and Jhaptaal by clapping and waving from memory without looking at notes

Sing vilambit and drut khayal in Raag Bhairav, keeping komal re and komal dha distinct from their shuddha forms

Compose and notate two alaap-taans in Bhairav that use the andolan on komal re deliberately rather than as a slide

Practise aada laya and kuwaad laya in Jhaptaal, writing the matra count under each phrase

Sing the theka of Rupak while marking khali on the first matra, explaining in writing why Rupak is called a khali-starting taal

Compare Teentaal and Ektaal on paper: matra count, vibhag, tali and khali positions, and one phrase that fits one but not the other

Notate the bandish of one vilambit khayal in Bhatkhande notation, including swar symbols, matra numbers, vibhag lines, tali and khali marks

Transcribe the same bandish into Vishnu Digambar Paluskar notation and list every symbol that differs between the two systems

Sing Raag Bhairavi vilambit khayal with a slow, deliberate alaap, then add a drut section in the same raag

Explain in writing how the two notation systems treat komal swar, tivra swar, mandra and taar saptak markers, and avagraha

Identify by ear, from recordings you gather yourself, whether a short phrase belongs to Yaman, Bhairav or Bhairavi, and write the reason

List the defining features of dhrupad, dhamar, thumri, tappa, ghazal, bhajan and tarana in a table: language, taal, tempo, ornamentation and typical structure

Sing or hum one short piece from at least three of these forms and note which ornaments you used and why

Name the major Hindustani gharanas, their founding figures, their geographic home and two salient stylistic features each

Write a short comparison of Gwalior, Kirana and Agra gharanas covering bandish treatment, alaap style and voice placement

Explain in writing how tarana differs from khayal in text and rhythm, using one example of a tarana bol pattern

Write short life sketches of at least six figures covering birth period, gharana or tradition, key contributions and one well-known composition or treatise

Distinguish naad, ahata naad and anahata naad, and explain shruti and graam in your own words

State the lakshan of a raag: the conditions a swar set must satisfy to be called a raag, and apply them to Yaman as a worked example

Classify swar by type: shuddha, komal, tivra, and achala and chal swar, with one example of each in a raag you know

Trace the shruti-graam concept and explain in writing why the 22-shruti division is a theoretical framework rather than a fixed tuning

Sing the theka and one layakari pattern for each of the six prescribed taals from memory, at three speeds

Revise naad and swar-saadhana by writing a short explanation of how daily riyaaz builds pitch accuracy and how you would measure your own progress

Summarise modern trends in Hindustani music: institutional teaching, notation in print, recording technology and broadcast, in a structured note

Explain the effect of recording and amplification on vocal technique and on the length of a performance

Practise identifying taal by clapping along to unseen recordings and writing the taal name and matra count within the first cycle

Run full mock viva answers aloud for raag recognition, taal recognition, tuning and swar knowledge, timing each answer to under two minutes

Sing one vilambit and one drut khayal from memory in each of the three prescribed ragas without notation

Tune your tanpura or reference drone by ear and state which swar you are matching, then check against a tuner and record the deviation

Revise all notation sheets and re-notate one bandish from memory in both systems

Review your weakest two domains from earlier weeks and rewrite the summary notes for them from scratch