ISC Class 12 Syllabus 2028 Music

ISC
INDIAN SCHOOL CERTIFICATE
EXAMINATION

YEAR 2028

MUSIC (872-874)

Developed by:
Research, Development and Curriculum Division (RDCD)
CISCE

January 2026
____________________________________________________________________________________________

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Council for the Indian School Certificate Examinations (CISCE)

MISSION STATEMENT

The Council for the Indian School Certificate
Examinations is committed to serving the nation's
children, through high quality educational
endeavours, empowering them to contribute towards
a humane, just and pluralistic society, promoting
introspective living, by creating exciting learning
opportunities, with a commitment to excellence.

ETHOS OF CISCE

Trust and fair play.
Minimum monitoring.
Allowing schools to evolve their own niche.
Catering to the needs of the children.
Giving freedom to experiment with new ideas
and practices.
Diversity and plurality - the basic strength for
evolution of ideas.
Schools to motivate pupils towards the
cultivation of:
Excellence - The Indian and Global
experience.
Values - Spiritual and cultural - to be the bedrock
of the educational experience.
Schools to have an 'Indian Ethos', strong roots in
the national psyche and be sensitive to national
aspirations.

MUSIC(872-874)

Aims
1. To encourage creative expression in music.
2. To develop the powers of musical appreciation.
One of the three following syllabuses may be offered:
(A) Indian Music (Hindustani) (872).
(B) Indian Music (Carnatic) (873).
(C) Western Music (874).

(A) INDIAN MUSIC (HINDUSTANI) (872)
(May not be taken with Western Music or Carnatic Music)

CLASS XI & XII
The Syllabus is divided into three parts:
Part 1 (Vocal),
Part 2 (Instrumental) and
Part 3 (Tabla)
Candidates will be required to offer one of the parts of the syllabus.
There will be two papers:
Paper 1: Theory - 3 hours .. 70 marks
Paper 2: Practical ….. 30 marks.
Candidates will be required to appear for both the papers from one part only.

PAPER 1 (THEORY) : 70 MARKS
Candidates will be required to attempt questions on either Part 1: Vocal Music or Part 2: Instrumental Music or
Part 3: Instrumental Music Percussion (Tabla).

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PAPER 2 (PRACTICAL) : 30 Marks
The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally and
approved by CISCE.
EVALUATION:
Marks will be distributed as follows:
• Practical Examination: 20 Marks
• Evaluation by Visiting Practical Examiner: 5 Marks
(General impression of total performance in the Practical Examination: accuracy of
Shruti and Laya, confidence, posture, tonal quality and expression)
• Evaluation by the Teacher: 5 Marks
(of work done by the candidate during the year).
NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner.

CLASS XI
PART 1: VOCAL MUSIC
PAPER 1 (THEORY) : 70 Marks
1. Introduction to Musical Terms
(i) Dhwani
Meaning, origin, types (Naad and Kolahal/noise).
(ii) Shruti
Meaning and origin.
(iii) Swar
Meaning of Swar and types {Shudha, Vikrit (Tivra, Komal) Vadi, Samvadi, Anuvadi, Vivadi, Varjya,
Vakra, Grah, Ansh, Nyas: Meaning with examples}.
(iv) Saptak
Meaning and types (Mandra, Madhya and Taar) with symbol.
(v) Thaat
Meaning, types, rules, number and names with examples in Bhatkhande system.
(vi) Raga
(a) Meaning of Raga; Types (Janak, Janya- Meaning with examples).
(b) Jati of Raga (Odava, Shadava and Sampoorna -Meaning and their nine Upjatis).
(vii) Varna
Meaning and types with examples (Sthayi, Aarohi, Avarohi and Sanchari).
(viii) Alankar
Meaning and example in Shudh Swar.
(ix) Taal
Meaning and examples of Matra, Tali, Khali, Vibhag, Sam, Theka, Aavartan, Thah (Ekgun), Dugun and
Chaugun.

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2. Forms of Composition
Khayal (Bada Khayal and Chhota Khayal)
Origin, meaning, characteristics and comparative study.

3. Introduction to Ragas
Yaman, Bhupali, Khamaj, Bhairav, Desh.
The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, Samvadi,
Anuvadi, Vivadi, Varjya, Vikrit, Singing/Playing Time with examples.

4. Taal and Taal-lipi
Notation of the following ‘Talas’: Teentaal, Dadra, Kaharwa, Jhaptaal.
The above Talas with their Thekas, Tali, Khali, Vibhag in Thah, dugun and chaugun laya.

5. Swarlipi of Chota Khayal
Notation of the following Ragas: Yaman, Bhupali, Khamaj, Bhairav, Desh
Sthai and antara with the mention of the name of the Raga (with its Aaroh, Avaroh) and Taal with clear
indication of Swar and Taal signs.

6. Eminent Musicians of Hindustani Music
The following musicians to be studied: Vishnu Narayan Bhatkhande, Vishnu Digambar Paluskar.
Life sketch, work and achievements.

7. Topics of general interest related to Music
Essay type questions of about 200 words will be asked on the above.

PAPER 2 (PRACTICAL) : 30 Marks
1. Demonstration of the following Ragas by singing Chota Khayal with five Taans:
(i) Yaman
(ii) Bhupali
(iii) Khamaj
(iv) Bhairav
(v) Desh
2. Recitation of the following Talas in Thah, Dugun and Chaugun. Laya showing various divisions by Tali and
Khali with hand gestures (Padhant):
(i) Teentaal
(ii) Dadra
(iii) Kaharwa
(iv) Jhaptaal
3. Singing five Alankars.
4. Singing of a devotional or folk song of the candidate’s choice.

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PART 2: INSTRUMENTAL MUSIC
PAPER 1 (THEORY) : 70 Marks
1. Introduction to Musical Terms
(i) Dhwani
Meaning, origin, types (Naad and Kolahal/ noise).
(ii) Shruti
Meaning and origin.
(iii) Swar
Meaning of Swar and types {Shudha, Vikrit (Tivra, Komal) Vadi, Samvadi, Anuvadi, Vivadi, Varjya,
Vakra, Grah, Ansh, Nyas: Meaning with examples}.
(iv) Saptak
Meaning and types (Mandra, Madhya and Tar) with symbol.
(v) Thaat
Meaning, types, rules, number and name with example in Bhatkhande system.
(vi) Raga
(a) Meaning of Raga; Types (Janak, Janya- Meaning with examples).
(b) Jati of Raga (Odava, Shadava and Sampoorna - Meaning and their nine Upjatis).
(vii)Varna
Meaning and types with example (Sthayi, Aarohi, Avarohi and Sanchari).
(viii) Alankar
Meaning and example in Shudh Swar.
(ix) Taal
Meaning and examples of Matra, Tali, Khali, Vibhag, Sam, Theka, Aavartan, Thah (Ekgun), Dugun and
Chaugun.

2. Types and techniques of String Instruments
Types: Chal Thaat and Achal Thaat; Techniques: Krintan, Zamzama, Murki, Khatka, Kampan.
Origin, meaning, characteristics and comparative study.

3. Introduction to Ragas
Yaman, Bhupali, Khamaj, Bhairav, Desh.
The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, Samvadi,
Anuvadi, Vivadi, Varjya, Vikrit, Singing/Playing Time with examples.

4. Taal and Taal-lipi
Notation of the following ‘Talas’: Teentaal, Dadra, Kaharwa, Jhaptaal.
The above Talas with their Thekas, Tali, Khali, Vibhag in Thah, dugun and chaugun laya.

5. Swarlipi of Razakhani/Drut Gat
Notation of the following Ragas: Yaman, Bhupali, Khamaj, Bhairav, Desh.
Sthai and antara with the mention of the name of the Raga (with its Aaroh, Avaroh) and Taal with clear
indication of Swar and Taal signs and bols of Gat.

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6. Eminent Musicians of Hindustani Music
The following musicians to be studied: Vishnu Narayan Bhatkhande, Vishnu Digambar Paluskar.
Life sketch, work and achievements of the above.

7. Topics of general interest related to Music
Essay type questions of about 200 words will be asked on the above.

PAPER II (PRACTICAL) : 30 Marks
1. Demonstration of following Ragas by playing Razakhani/ Drut Gat with Five Todas.
(i)Yaman
(ii) Bhupali
(iii) Khamaj
(iv) Bhairav
(v) Desh
2. Recitation of the following Talas in Thah, Dugun and Chaugun. Laya showing various divisions by Tali and
Khali with hand gestures (Padhant):
(i) Teentaal
(ii) Dadra
(iii) Kaharwa
(iv) Jhaptaal
3. Singing five Alankars.
4. One Dhun to be played on any Raga either from the syllabus or any other Raga of the candidate’s choice.

PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA)
PAPER 1 (THEORY) : 70 Marks
1. Eminent Musicians of Hindustani Music
The following musicians to be studied: Vishnu Narayan Bhatkhande, Vishnu Digambar Paluskar.
Life sketch, work and achievements of the above.

2. Terms related to Tabla
Theka, Avartan, Kism, Tukda, Mukhda, Mohra, Uthaan, Paran, Peshkara.
Meaning and examples of the above.

3. Taal and Taal-lipi
Teentaal, Ektaal, Chaartaal, Rupak, Tivra.
Complete notation of the above Talas with their Thekas, Tali, Khali, Vibhag in Thah, Dugun and Chaugun
Laya and their characteristics.

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4. Five Pranas of Taal
Kaal, Marg, Kriya, Ang, Kala.
Definition with examples.

5. Syllables of Tabla
Technique of producing syllables of Tabla (Dahina and Bayan) individually and jointly.

6. Topics of general interest related to Music
Essay type question of about 200 words will be asked on the above.

PAPER 2 (PRACTICAL) : 30 Marks
1. Playing the following Talas on Tabla in Thah Dugun and Chaugun Layakari:
(i) Teentaal
(ii) Ektaal
(iii) Chaartaal
(iv) Rupak
(v) Tivra
2. Keeping the Wazan of the Taal intact, demonstration of the following:
(i) One Peshkara, One Uthaan, One Kayada with four Paltas and Tihai in Teentaal.
(ii) One Tihai in Teentaal.
(iii) One Paran in Chaartaal
(iv) One Tukda in Ektaal
(v) One Kism each in Rupak and Tivra
3. Identification and production of syllables on Tabla.
4. Accompaniment of Tabla (only Thekas) with music played or sung.
5. Knowledge of Lehra.

CLASS XII
PART 1: VOCAL MUSIC
PAPER 1 (THEORY) : 70 Marks
1. Musical Terms and Forms
(i) Naad
Meaning, origin, types (Aahat, Anahat) and qualities (Volume, Pitch, and Timbre).
(ii) Raga
Type of Raga: Poorva, Uttar, Sandi-Prakash, Shudha, Chhayalag, Sankirna (Meaning with examples).
(iii) Forms of composition: Dhrupad, Dhamar.
Origin, development and characteristics to be done in detail.
(iv) Meend, Andolan, Gamak, Kan, Alaap, Taan.
Meaning, uses with examples wherever applicable.

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2. Systems of Indian Classical Music
The two systems of Indian Classical Music.
Hindustani and Carnatic Music – comparative study with reference to technique of usage, Swar, Taal,
composition, instruments used and language.

3. Placement of Swaras on twenty-two Shrutis
Ancient and modern methods of placement of seven Swaras amongst Shrutis.

4. “Thaats” of Bhatkhande
Ten Thaats with name, swar, signs and basic rules.

5. Vadi Swar and time of Raga
Relationship between Vadi Swar and time of raga, Purvang- Uttarang of day and Saptak.

6. Laya
Definition of Laya and its types: Vilambit, Madhya and Drut.

7. Raga
(i) Bihag, Bageshwari, Kafi, Bhairavi, Malkauns
(ii) Identification of Raga by written note-combination
(iii) Comparison and contrast between above mentioned Raga.
Complete theory of the above mentioned Ragas with special reference to their Swar, Thaat, Jaati, Aaroh,
Avaroh, Pakad, Vadi, Samvadi, Anuvadi, Vivadi, Varjya, Vikrit, Samprakriti Raga and singing/playing
time.

8. Notation of Taal
Dhamar, Ektaal, Roopak, Chartaal.
The above Talas with their Thekas, Tali, Khali, Vibhag in Thah, Dugun, Tigun and Chaugun Laya.

9. Notation of Bandish (Chhota Khayal and Bada Khayal)
Sthai and antara with the mention of the name of the raga (with its aaroh, avaroh) and taal with clear
indication of Swar and Taal signs.
Note: Chhota Khayal in all Ragas and One Bada Khayal of candidates choice from the Ragas (Bihag,
Bageshwari, Kafi, Bhairavi, Malkauns).

10. Classification of Indian Musical Instruments
Tat -Vitat, Sushir, Avnada, Ghan.
Explanation with examples.

11. Eminent Musicians of Hindustani Music
The following musicians to be studied: Pt. Ravi Shankar, Pt. Bhimsen Joshi.
Life sketch, work and achievements of the above.

12. Topics of general interest related to Music
Essay type questions of about 200 words will be asked on the above.

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13. Brief History and knowledge of Tanpura
Drawing and labelling with description and tuning.

PAPER 2 (PRACTICAL) : 30 Marks
The practical work is to be assessed by the teacher and a Visiting Examiner appointed locally and approved by
CISCE.
1. Demonstration of the following Raga by singing "Chota Khayal" with Alap, and five Taans:
(i) Bihag
(ii) Bageshwari
(iii) Kafi
(iv) Bhairvi
(v) Malkauns
2. Singing of one Vilambit Khayal in any of the Ragas in Point 1.
3. Identification of all the Ragas by listening to their Alaap.
4. Singing of Ten Alankars in Shudh Swar.
5. Recitation of the following Talas in Dugun and Chaugun Laya:
(i) Chaartaal
(ii) Dhamar
(iii) Ektaal
(iv) Roopak

PART 2: INSTRUMENTAL MUSIC

PAPER 1 (THEORY) : 70 Marks
1. Musical Terms and Forms
(i) Naad
Meaning, origin, types (Aahat, Anahat) and qualities (Volume, Pitch, and Timbre).
(ii) Raga
Type of Raga: Poorva, Uttar, Sandi Prakash, Shudha, Chhayalag, Sankirna (Meaning with examples).
(iii) Forms of composition: Razakhani/Dhrut Gat, Maseetkhani/Vilambit Gat.
Origin, development and characteristics to be done in detail.
(iv) Meend, Ghaseet, Soot, Andolan, Gamak, Kan, Alaap, and Jod-Alap.
Meaning, uses with examples, wherever applicable.

2. Systems of Indian Classical Music
The Two systems of Indian Classical Music.
Hindustani and Carnatic Music – comparative study with reference to technique of usage, Swar, Taal,
composition, instruments used and language.

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3. Placement of Swaras on twenty-two Shrutis
Ancient and modern methods of placement of seven Swaras amongst Shrutis.

4. “Thaats” of Bhatkhande
Ten Thaats with name, swar, signs and basic rules.

5. Vadi Swar and time of Raga
Relationship between Vadi Swar and time of raga; Purvang-Uttarang of day and Saptak.

6. Laya
Definition of Laya and its types: Vilambit, Madhya and Drut.

7. Raga
(i) Bihag, Bageshwari, Kafi, Bhairavi, Malkauns
(ii) Identification of Raga by written note-combination
(iii) Comparison and contrast between above mentioned Raga.
Complete theory of the above mentioned Ragas with special reference to their Swar, Thaat, Jaati, Aaroh,
Avaroh, Pakad, Vadi, Samvadi, Anuvadi, Vivadi, Varjya, Vikrit, Samprakriti Raga and singing/playing time.

8. Notation of Talas
Dhamar, Ektaal, Roopak, Chartaal
The above Taal with their Thekas, Tali, Khali, Vibhag in Thah, Dugun, Tigun and Chaugun Laya.

9. Notation of Bandish (Maseetkhani and Razakhani)
Sthai and antara with the mention of the name of the raga (with its aaroh, avaroh) and taal with clear
indication of Swar and Taal signs and bols of Gat.
Note: Razakhani in all Raga and One Maseetkhani of the candidate’s choice from the Raga: Bihag,
Bageshwari, Kafi, Bhairavi, Malkauns.

10. Classification of Indian Musical Instruments
Tat -Vitat, Sushir, Avnada, Ghan.
Explanation of the above with examples.

11. Eminent Musicians of Hindustani Music
The following musicians to be studied:
Pt. Ravi Shankar, Pt. Bhimsen Joshi.
Life sketch, work and achievements of the above.

12. Topics of general interest related to Music.
Essay type questions of about 200 words will be asked on the above.

13. Brief History and knowledge of your instrument
Drawing and labelling with description and tuning.

9

PAPER 2 (PRACTICAL) : 30 Marks
The practical work is to be assessed by the teacher and a Visiting Examiner appointed locally and approved by
CISCE.
1. Demonstration of the following Ragas by playing Razakhani/Drut Gat with five Todas and Jhala:
(i) Bihag
(ii) Bageshwari
(iii) Kafi
(iv) Bhairvi
(v) Malkauns
2. Playing of one Maseetkhani Gat in any of the Ragas in point 1.
3. Identification of all the Ragas by listening to their Alaap.
4. Playing of Ten Alankars in Shudh Swar.
5. Recitation of the following Talas in Dugun and Chaugun Laya:
(i) Chaartaal
(ii) Dhamar
(iii) Ektaal
(iv) Roopak

PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA)
PAPER 1 (THEORY) : 70 Marks
1. History and knowledge of Tabla
Brief history of origin and evolution of tabla, drawing and labelling with description and tuning.

2. Five Pranas of Taal
Grah, Jaati, Yati, Prastar, Laya
Definition and explanation with sub divisions and examples.

3. Classification of Indian musical Instruments
Tat -Vitat, Sushir, Avanadh, Ghan
Definition and explanation with examples.

4. Compositions of Tabla
Tihai (Damdar/Bedam), Gat, Kayada, Palta, Rela, Laggi, Ladi, Chakkardar Tukda, Paran.
Definition and explanation with examples.

5. Additional terms
Sam, Taali, Khali, Vibhag, Lehra (Nagma)
Definition and explanation with examples.

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6. Talas
Jhaptaal, Dadra, Teental, Dhamar, Jhoomra, Kaharwa
Complete notation of the above in Thah, Dugun, Tigun, and Chaugun Laya with characteristics

7. Method of presentation
Solo (Ekal) and accompaniment (Sangat).
Meaning, Solo presentation (order of performance); Playing technique while accompanying with vocal and
instrumental music.

8. Eminent Musicians of Hindustani Music
The following musicians to be studied:
Pt. Kishan Maharaj, Ustad Ahmad Jaan Thirakwa
Life sketch, work and achievements

9. Topics of general interest related to Music
Essay type question of about 200 words will be asked on the above.

PAPER 2 (PRACTICAL) : 30 Marks
1. The practical work is to be assessed by the teacher and a Visiting Examiner appointed locally and approved
by CISCE.
Playing of the following Talas on Tabla in Thah, Dugun and Chaugun Layakari:
(i) Jhaptaal
(ii) Dadra
(iii) Teentaal
(iv) Dhamar
(v) Jhoomra
(vi) Kaharwa
2. Keeping the Wazan of the Taal intact demonstration of the following:
(i) Four Kism in Kaharwa.
(ii) Four Kism in Dadra.
(iii) One Tukada, two Kism and one Kayada with two paltas and Tihai in Jhaptal.
(iv) One Gat, One Laggi, One Ladi, one Chakkardar Tukda and Paran, one Kayada with two paltas and Tihai
in Teentaal.
3. Accompaniment of Tabla (only Thekas) with music played or sung.

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(B) INDIAN MUSIC (CARNATIC) (873)
(May not be taken with Hindustani Music or Western Music)

CLASS XI & XII

There will be two papers:
Paper 1: Theory-3 hours …. 70 marks
Paper 2: Practical ….. 30 marks.

PAPER I (THEORY) : 70 MARKS
Candidates will be required to answer five questions in all.
1. The fundamental technical terms and their meanings (Ref. South Indian Music, Book 1 by P. Sambamoorthy,
Chap. III, pp. 38-48).
2. Principles of Sa, re, ga, ma, notations as laid down in K.V. Srinivasa Iyengar's Music Books and in P.
Sambamoorthy's "South Indian Music Series", Significance of symbols commonly used.
3. Raga classification in Carnatic Music. The scheme of the 72 Melakartas. The names of the 12 chakras.
Katapayadi Formula and its application.
4. Lakshanas of the following 24 ragas:
(i) Todi
(ii) Saveri
(iii) Chakravakam
(iv) Bhairavi
(v) Anandha Bhairavi
(vi) Karaharapriya
(vii) Shri Ranjani
(viii) Ritigoula
(ix) Mukhari
(x) Harikambhoji
(xi) Natakuranji
(xii) Kedaragoula
(xiii) Sahana
(xiv) Kambhoji
(xv) Yadukulakambhoji
(xvi) Sankarabharana
(xvii) Hamsadhwani
(xviii) Begada
(xix) Atana
(xx) Nata
(xxi) Purvakalyani
(xxii) Shanmukhapriya
(xxiii) Kalyani
(xxiv) Saranga

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5. Manodharma Sangita and its forms - Paddati in developing rage alpana and Kapana Svaras.
6. Dasavida gamakas (Ten gamakas).
7. The scheme of the 35 Talas. Chapu tala and its varieties. Desadi and Madyadi talas, Kriya, Anga. Laya, Gati,
Matra (a detailed knowledge of two/ five pranas) shadhangas.
8. Musical forms and their association. An advanced knowledge of the following musical forms:
(i) Gita
(ii) Tana Verma
(iii) Padavarna
(iv) Kriti
(v) Ragamalika
(vi) Padam
(vii) Javali
(viii) Tillana
9. History of Carnatic Music with special reference to the following composers and theorists including their
biographies and their contributions to Carnatic Music. 10 out of 20 must be known.
(i) Jayadeva
(ii) Purandaradas
(iii) Ramamatya
(iv) Somanatha
(v) Narayana Tirtha
(vi) Bhadrachala Ramadas
(vii) Venkatamakhi
(viii) Kshetrajna
(ix) Paidala Guruthy Sastri
(x) Tyagaraja
(xi) Muthuswami Dikshitar
(xii) Syama Sastri
(xiii) Arunachalam Kavirayar
(xiv) Gopalakrishna Gharat
(xv) Svati Tirunal
(xvi) Subbaraya Shastri
(xvii) Veena Kuppayyar
(xviii) Mysore Sadasiva Rao
(xix) Patnam Subramanya Iyar
(xx) Pallavi Seshayyar
10. Classification of musical instruments into stringed, wind and percussion group. A general knowledge of the
structure of the vina, violin tampuro, gottuvadyam and flute. Tuning of the human voice and the compass of
the concert instruments of South India.
11. Musical sound and voice. Pitch. Intensity and timbre. Sympathetic vibration. Resonance. Echoes, Musical
intervals. Modal shift of tonic. (Grahabhedam).

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PAPER 2 (PRACTICAL (about 20 minutes)) : 30 Marks
1. Two padas of Kshetrajna One Ragamalika. Two Tillanas. Two Javalis and the following compositions:
(i) Todi Kaddanna Variki
(ii) Saveri Sankari Sankuru
(iii) Chakravakam Etula Brotuvo
(iv) Bhairavi Neepadamule
(v) Anandha Bhairavi Nimadi Challaga
(vi) Karaharapriya Pakkala Nilabadi
(vii) Sri Ranjani Marubalka
(viii) Harikambhoji Entharanidaya
(ix) Natakuranji Manasuvishaya nata
(x) Shana Rama Ikananu
(xi) Kambhoji Koniyadina napai
(xii) Sankarabharana Saroja dala netri
(xiii) Hamsadhwani Vatapi ganapatim
(xiv) Begada Nadopasana
(xv) Atana Ilalo pranatharthi hara
(xvi) Purvi Kalyani Ninnu Vina gamari
(xvii) Shanmukhapriya Mariveredikkevaraiya rama
(xviii) Kalyani Ninnu Vina gati
(xix) Saranga Neevada negana

Note: Candidates shall have the option of singing or playing these pieces or other classical pieces of an equal
standard.
Candidates shall be expected to know in outline the meaning of at least six songs of the classical composers learnt
by them.
2. Alapana of the following ragas
(i) Todi
(ii) Saveri
(iii) Bhairavi
(iv) Anandha Bhairavi
(v) Mohana
(vi) Kedaragoula
(vii) Kambhoji
(viii) Yadukula Kambhoji
(ix) Sankarabharana
(x) Begada
(xi) Kalyani
3. Ability
(i) to sing Kalpada swara for the songs learnt in Todi, Bhairavi, Kambhoji, Sankarabharana and Kalyani
ragas and in Adi and Rupaka talas;
(ii) to sing or play a given musical passage in sa, re, ga, ma notation in any of the prescribed 24 ragas.

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(iii) to give swaras for musical phrases sung or played;
(iv) to recognise ragas from alpanas heard or played; and
(v) to recognise the talas of unfamiliar songs heard or played.
4. In addition to the individual tests there will also be common ear tests, sight-singing tests and musical dictation
at the practical examination.
In the practical examination, candidates may offer vocal music or one of the following:
Vina, Gottuvadyam, Violin, Balakokil, Flute or Nagasvaram. A vocal candidate shall sing to the sruti
accompaniment of Tambura. A vocal candidate may sing playing the Tambura himself/herself or he/she may
utilise the services of another person to provide the Tambura accompaniment for him/her, provided this other
person is not a candidate for this same examination.

EVALUATION:
The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally and
approved by CISCE.
(Note: For Class XI, Evaluation of Practical is to be done by the Internal Examiner.)
Marks will be distributed as follows:
• Practical Examination: 20 Marks
• Evaluation by Visiting Practical Examiner: 5 Marks
(of candidate’s overall performance in the Practical Examination, based on
sruthy, laya, tonal quality, expression and music performance)
• Evaluation by the Teacher: 5 Marks
(of work done by the candidate throughout the year.)

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(C) WESTERN MUSIC (874)
(May not be taken with Hindustani Music or Carnatic Music)

CLASS XI & XII
Pre-Requisite:
Candidates for the examination in Western Music will be required to have passed Grade 5 in Theory and Grade 6
in Practicals of the Associated Board of the Royal School of Music or the Trinity College of Music or the London
College of Music.
There will be two papers:
Paper 1: Theory: 3 hours …... 70 marks
Paper 2: Practical: … 30 marks

PAPER I (THEORY) : 70 MARKS
SECTION A
(i) Harmony, etc.
Four-parts chords formed on all degrees of major and minor scales. First the second inversions, the dominant
seventh chord and its inversions, modulation to related keys and the simple use of unessential notes. The tests may
take the form of harmonization of a melody in four vocal parts or in simple pianoforte style, the working of a
figured on unfigured bass, or the construction of a phrase on a given harmonic basis.
The addition of a melody, above or below a given melody, the writing of a melody to given words, or the
completion of a melody of which the beginning is given. Analysis of the rhythmic structure of a melody, phrasing,
etc. Analysis of harmonic progressions including modulations, in a straightforward passage.

SECTION B
Prescribed Works:
Beethoven, Symphony No. 2 in major op 36 and one of the following:
(a) Bach, Prelude and Fugue No. 16 in G minor, Book I.
(b) Schubert "Erl Kenig" (The Erl King).
(c) Caesar Frank: the last movement from the violin and piano sonata.

PAPER 2 (PRACTICAL WORK) : 30 Marks
Practical work will consist of six Aural Tests. Candidates will be required to attempt all six Tests.
1. Candidates will be required to write on a monotone, pre-fixing the necessary time signature, a short rhythmical
passage beginning on the first beat of a bar. Compound time will not be included. After indicating the speed
at which the pulse of the music moves, the Examiner may play the passage twice. After a short interval, he
will play it a third and a fourth time.
2. Candidates will be required to write from dictation a short melodic phrase, beginning on the first beat of a bar,
in either a major or a minor key. Before playing the passage, the Examiner will indicate the speed at which
the pulse of the music moves. The key will be named, and the keynote and tonic chord sounded. The phrase
will then be played once throughout. It will then be played twice in sections, at short intervals of time, and
finally the phrase will be repeated in its entirety.

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3. Candidates will be required to describe (e.g. 'perfect 5th') intervals which are diatonic in major keys. Two
such intervals will be given without the sounding of the keynotes. Each interval will be played twice.
4. Candidates will be required to recognise and name any of the following cadences - perfect, imperfect (half -
close), plagal, interrupted - occurring in a musical example in a major or a minor key played by the Examiner.
After the tonic chord has been sounded, the whole musical sentence will be played through three times, with
due deliberation, at short intervals.
5. Candidates will be required to recognise the three principal chords of a major or a minor key (in root position
and in first and second inversion) as played by the Examiner in a continuous musical phrase in a definite key.
The phrase containing the given chords will begin with a chord in root position. It will be played four times
at a reasonably slow pace, and, before each playing, the tonic chord will be sounded.
6. Candidates will be required to recognise and name simple changes of key. Three examples will be given, each
starting from the same tonic key. Three examples will be given, each starting from the same tonic key, and
containing one modulation only. Modulations will be limited to the dominant, sub-dominant, and relative
major or minor keys. After the key has been named and the tonic chord has been sounded, each of the three
examples will be played through twice.
The test will not necessarily contain examples of modulations of three different keys; the same keys recur.
A candidate will be at liberty to write down his answers to a particular test at any stage.

EVALUATION:
The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally and
approved by CISCE.
(Note: For Class XI, Evaluation of Practical is to be done by the Internal Examiner.)
Marks will be distributed as follows:
• Practical Examination: 20 Marks
• Evaluation by Visiting Practical Examiner: 5 Marks
(of candidate’s Aural skills, presentation of written work and overall
confidence of the candidate in the Practical Examination)
• Evaluation by the Teacher: 5 Marks
(of work done by the candidate during the year)

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