CBSE Senior Secondary Syllabus 2027 Hindustani Music

FOR CBSE SENIOR SECONDARY SYLLABUS EXAM PREPARATION

CBSE Senior
Secondary Syllabus
2027
Question Paper
EXAM YEAR TYPE

CBSE Senior Secondary Syllabus 2027 Question Paper
DETAILS

Hindustani Music

Notes · Sample Papers · Previous Year Papers · Mock Tests

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HINDUSTANI MUSIC - VOCAL
Subject Code - 034 g l a
Class XI-XII (2026-27) a
Introduction
The course in Hindustani Music Vocal at Secondary and Senior Secondary level is
being offered to the students for the holistic development of their personality.
Inheriting the indigenous concept of Rasa theory proposed by Acharya Bharat Muni in
his text ‘’Natyashastra’’, Hindustani Classical Vocal music is based on Ragas and
Talas as the key features and it distinguishes itself from any other music in the world,
representing India's unique and rich cultural heritage. Hindustani Vocal Music,
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developed in North India, with its roots tracking back to the Vedic period, evolved
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significantly during the medieval era. Often known as a Raga music, various musical

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forms and singing styles have evolved in course of time in Hindustani Vocal music
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such as Dhrupad, Dhamar, Khayal, Tarana, Chaturang, Trivat as Classical Vocal
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forms and Thumri, Dadra, Tappa, Kajri, Chaiti etc. as Semi-classical forms. In due
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course of time many Gharanas (Music Schools) also evolved in Hindustani Vocal
Music such as Gwalior, Agra, Jaipur, Kirana, Rampur, Sahasawan etc., which
consisted of their individual characteristic style of singing, voice culture, singing
texture, layakari and the use of various embellishments such as Gamak, Meend, Kan,
Khatka, Murki etc., in different magnitude to unfold the nuances and aesthetics of the
Ragas in these Classical and Semi–classical Vocal forms. Hindustani Vocal music is
considered as one of the finest and foremost music around the globe today.
Objectives
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● It is important to carry forward the rich heritage and tradition of Hindustani Classical
Music to the next generation and to familiarize students with its rich history and
diversity.
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●
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To ensure the correct rendering of nuances of Hindustani Ragas, pedagogical

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interventions involving the indigenous, traditional face-to-face Guru-Shishya
(teacher – student) style are incorporated.
● To ensure that students not only learn a vital aspect of Indian culture, but also,
develop skills and qualities that benefit their overall growth and personality
development.
● To utilize Music as a tool to help students deal with aggression and other age
specific challenges.
● Music is very closely associated with many Science and Arts disciplines. The aim
will also focus on making students aware of the interdisciplinary approaches in
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various musical concepts.

om Outcomes
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em ● Understanding the concepts of Indian Classical Music. gla s
las a and Harmonium.
ag ● Ability to handle the accompanying instruments such as Tanpura
● Efficiency to perform raga delineation in Dhrupad, Dhamar, Khayal and Tarana
style of singing.
● Ability to understand different Talas (time cycles), rhythmic patterns and layakaris.
● Developing a scientific approach in all aspects through systematic training during
the teaching – learning process.
● Understanding other disciplines and their relation to various aspects of Indian
Classical Music.
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ag For more Question Papers, Sample Papers, Notes & Syllabus visit Page 1 of 15

HINDUSTANI MUSIC - VOCAL
Subject Code - 034
Class XI (2026-27)

Assessment Design
S.No Component Marks

A Theory 30
B Practical 70

Curriculum & Examination Structure

(A) Theory Max. Marks 30
Time: 02 hours
1. Questions to be set with internal choice covering the entire syllabus

Sr. No. Units Marks

Unit 1
1.1 Brief study of the following: 06
Nada, Shruti, Swar, Saptak, Thaat, Jati, Laya, Tala
1.2 Brief study of the following: Margi- Desi Sangeet, Raga,
Unit 2
2.1 Brief History of the following Dhrupad, Khayal andTarana 06
Unit 3
3.1 Brief study of Musical Elements in Natya Shastra 06
3.2 Life sketch and contribution of Tansen, V.N. Bhatkhande and
V.D.Paluskar
Unit 4
4.1 Description of prescribed Talas along with Tala Notation with 06
Thah, Dugun and Chaugun
 Teentala
 Ektala
 Chautala
4.2 Knowledge of the Structure of Tanpura
Unit 5
5.1 Critical study of Prescribed Ragas. Recognizing Ragas from
phrases of Swaras and elaborating them. 06

5.2 Writing in natation the compositions of prescribed Ragas
 Bihag
 Bhimpalasi
 Bhairavi

2

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(B) Practical Max. Marks 70

(i)Topics
1. One Vilambit Khayal with simple elaborations and few tanas in any one of
the prescribed Ragas.
2. One Drut Khayal with simple elaboration and few tanas in the following
Ragas: Bihag, Bhairavi and Bhimpalasi.
3. One Dhrupad with Dugun in any one of theprescribed Ragas.
4. One Devotional Song.
5. Ability to recognize the prescribed Ragas from the phrases of Swaras
rendered by the Examiner.
6. Recitation of the Thekas of Teentala, Chautala and Ektala with Dugun and
Chaugun, keeping Tala with hand beats.

(ii) Distribution of Marks
Time: 20-25 Minutes for each candidate
1. Examiners are requested to ask the questions directly related to the syllabus.
2. Marks should be awarded in accordance with the marking scheme.

S. No. Value Points Marks

1. Choice Raga (Vilambit & Drut Khyal) any one of the 15
following:
 Bihag
 Bhimpalasi
 Bhairavi
2. Examiner’s Choice of Ragas 12
3. 1 Dhrupad with Dugun in any one of the prescribed Ragas 14

4. Devotional Song. 06
5. Ability to recognize the prescribed ragas from the 08
phrases of swaras rendered by the examiner
6. Recitation of Thekas of prescribed Talas with Thah,
Dugun, Chaugun: 05+05=10
 Teentala
 Ektala
 Chautala
Practical File:
7.  Analyse the style of any present day artis of classical 05
vocal music.
 Description and notation of all compositions in
prescribed Ragas.
 Description and Tala Notation with layakaris of all
prescribed.
* Teachers will refer to the distribution of marks while examining the candidate for
practical examination

3

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se HINDUSTANI MUSIC - VOCAL
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(Subject Code - 034)
Class XII (2026-27)

Assessment Design
S.No Component Marks
A Theory 30
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B Practical 70
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c. o Curriculum & Examination Structure s e m
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(A) Theory Max. Marks 30
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Time: 02
1. Questions to be set with internal choice covering the entire syllabus

S.No. Units Marks
Unit 1
1.1 Brief study of the following: - Alankar, Kan, Meend, Khatka, Murki, 06
Gamak.
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1.2 Brief study of the following Gram, Murchhana, Alap, Tana.

s emUnit 2

gla Theory of Ragas
06
2.1 Historical development ofaTime

Unit 3
3.1 Detail study of Sangeet Ratnakar the following: Sangeet Parijat 06

3.2 Life sketch and Contribution of Faiyaz Khan, Bade Ghulam Ali Khan,
Krishna Krishna Rao, Shankar Pandit

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Unit 4
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em 4.2 Tuning of Tanpura a
Thah, Dugun, Tigun and Chaugun Jhaptala, Rupak, Dhamar
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a Unit 5
5.1 Critical study of Prescribed Ragas along with recognizing the Ragas 06
from phrases of Swaras and elaborating them.

5.2 Writing in Notation the Compositions of Prescribed Ragas: Bhairav,
Bageshri, Malkauns

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(B) Practical Max. Marks 70

(i)Topics
1. One Vilambit Khayal with simple elaborations and few Tanas in any two of the
prescribed Ragas.
2. One Drut Khayal with simple elaborations and few tanas in the following
Ragas-Bhairav, Bageshri and Malkauns.
3. One Tarana and one Dhamar with dugun and chaugun in any one of the
prescribed Ragas.
4. Ability to recognize the Ragas from the Phrases of Swaras rendered by the
examiner.
5. Recitation of the Thekas of Jhaptala, Rupak, and Dhamar with Dugun and
Chaugun, keeping tala with handbeats.
6. Tuning of Tanpura.

(ii) Distribution of Marks
Time: 25-30 Minutes for each candidate
1. Examiners are requested to ask the questions directly related to the syllabus.

S.No. Value Points Marks
1. Choice Raga (Vilambit and Drut Khayal) with simple 10+8=18
elaborations in prescribed Ragas (anyone):
 Bhairav
 Bageshri
 Malkauns

2. Examiner’s Choice of Ragas 10
3. One Tarana and one Dhamar with Dugun and Chaugun 8+8=16

6. Identification of Ragas 06
Reciting the Thekas of Prescribed Talas with handbeats with 5+5=10
7. Thah and Dugun and Chaugun:
 Jhaptala
 Rupak
 Dhamar

8. Tuning of Tanpura and questions regarding it 5
9. Practical file 5

* External Examiner will refer to the distribution of marks while examining the candidate
for practical examination

5

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HINDUSTANI MUSIC – MELODIC INSTRUMENTS
Subject Code - 035
Class XI- XII (2026-27)

Introduction
The course in Hindustani Melodic Instruments at Secondary and Senior Secondary level is
being offered to students for the holistic development of their personality. Hindustani
Instrumental Music, in coherence with Hindustani Music, has evolved as one of the finest
and foremost solo Instrumental music around the globe today. Enriched with soulful
acoustic sound and beautifully crafted features, these instruments have sound scientific
background. Inheriting the concept of Ragas and Talas as the key features, Hindustani
Music distinguishes itself from any other music in the world, representing India's unique and
rich cultural heritage. It is one of the two major traditions of Indian Classical Music, the
other being the Carnatic music. Hindustani Music developed in North India with roots
tracking back to the Vedic period, and evolved significantly during the medieval era. Often
known as a Raga Music, various musical forms have evolved over time in Hindustani music
such as Dhrupad, Dhamar, Khayal, Tarana etc. Initially being accompanying instruments to
these Vocal forms for centuries, various instruments such as Rudra, Veena, Surbahar,
Sitar, Sarod, Sarangi, Santoor etc. have established themselves as solo instruments today.
Under the process of refinement for decades, these instruments are fully capacitated to
deliver the embellishments (meend, kan, khatka, gamak etc.) of notes, in accordance with
the various moods of Indian Ragas.

Objectives
 It is important to carry forward the rich heritage and tradition of Indian Classical
Music to the next generation and to familiarize students with its rich history and
diversity.
 To ensure the correct rendering of nuances of Hindustani Ragas, pedagogical
interventions involving the indigenous, traditional face-to-face Guru- Shishya
(teacher – student) style are incorporated.
 Structures of various Hindustani musical forms such as Dhrupad, Dhamar, Khayal,
Tarana, Razakhani and Maseetkhani gats in the raga music can be learnt properly
through face to face teaching methodology.
 Students not only learn a vital aspect of Indian culture, but also develop skills and
qualities that benefit their overall growth and personality development.
 Music is very closely associated with many Science and Arts disciplines. The aim is
also to focus on making students aware of the interdisciplinary approaches in
various musical concepts.
Learning Outcomes
 Understanding the concepts of Indian Classical Music.
 Ability to handle, and adopt the techniques of instrumental music on the instrument
opted for
 Proficiently performing raga delineation on the instrument opted for.
 Understanding time cycles (talas), rhythmic patterns and layakaris.
 Developing a scientific approach in all aspects, through the systematic training
adopted during the teaching – learning process.
 Understanding other disciplines and their relation to various aspects of Indian
Classical Music.

1

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HINDUSTANI MUSIC – MELODIC INSTRUMENTS
a Subject Code - 035
Class XI (2026-27)

Assessment Design
S.No Component Marks
A Theory 30

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B Practical 70

omCurriculum & Examination Structure . co
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(A) Theory
e m Max. Marks 30
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Time: 02l hours ag
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1. Questions to be set with internal choice covering the entire syllabus

S.No Units Marks
Unit 1 06
1.1 Brief study of the following
Nada, Shruti, Swara, Saptak ,Thaat, jati, Laya, Tala.
1.2
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Brief study of the following Margi-Desi Sangeet, Raga, Gat.

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Unit 2
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2.1
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Brief History of the following

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Dhrupad, Mastikhani and Razakhni Gat
g Unit 3
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3.1 Brief study of Musical Elements in Natya Shastra
06

3.2 Life sketch and Contibution of Tansen, V.N.Bhatkhande
and V.D Paluskar
Unit 4 06
4.1 Description of Prescribed Talas along with Tala Notation- in
Thah, Dugun and Chaugan prescribed Talas:
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i. Teentala
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ii. Ektala
iii. Chautala
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Unit 5
Critical study of Prescribed Ragas along with Recognizing
06

Ragas from phrases of
Swaras and elaborating them. Excluding Rag Jaunpuri.
5.2 Writing in Notation the Compositions of Prescribed Ragas:
i. Bihag
ii. Bhim Palasi
iii. Bhairavi

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Page 7 of 15

(B) Practical Max. Marks 70

(i)Topics
1. One Razakhani Gat with Alap, tala- badha Tanaand Jhala in the following
ragas Bihag, Bhimpalasi, Bhairavi.
2. One Masit khani Gat with tanas in any one of the prescribed ragas
3. Ability to do Aalap, Jod, Jhala in any one of the prescribed raga.
4. Knowledge of structure of instrument opted for.
5. Ability to recognize prescribed ragas
from the passages of swaras sung or played by the examiner.
6. Recitation of Thekas of Teentala, Chautala
and Ektala with Dugun and Chaugun keeping tala with and beats.

(ii) Distribution of Marks

Time: 15-20 Minutes for each candidate
1. Examiners are requested to ask questions directly related to the syllabus.
2. Marks should be awarded in accordance with the marking scheme.

S.No. Value Points Marks
1. Parts and tuning of Instrument and questions regarding 05
Instrument
2. Alap, Jor, Jhala with Meend in any one choice Raga from the 10
Prescribed Ragas:
i. Bihag
ii. Bhimpalasi
iii.Bhairavi
3. Choice Raga (MasitKhani Gat and Razakhani Gat 18
4. Razakhani Gats with Todas and Jhala of Examiner’s choice 12

5. Identifying the Ragas 05+05=10
6. Reciting the Thekas of Prescribed Talas with hand beats in 05+05=10
Thah, Digun, Chaugun, Teental, Chautala,Ektala
7. Practical file 05

 Teachers will refer to the distribution of Marks while examining the candidate
for Practical Examination.

3

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HINDUSTANI MUSIC – MELODIC INSTRUMENTS
Subject Code - 035
Class XII (2026-27)

Assessment Design
S.No Component Marks
A Theory 30
B Practical 70

Curriculum & Examination Structure
(A) Theory Max. Marks 30

Time: 02 hours
1. Questions to be set with internal choice covering the entire syllabus.
No. Units Marks
Units 1 06
1.1 Brief study of the following
Gram, Murchhana,Alankar, Alap, Tana.
1.2 Brief study of the following
Gamak, Meend, Kan, krintan, Zamzama, Ghaseet, Sut.
Unit 2 06
2.1 Historical development of Time Theory of Ragas
Unit 3 06
3.1 Detail study of the following
Sangeet
Ratnakar
Sangeet Parijat
3.2 Life sketch and Contribution of Inayat Khan, Mushtaq Ali Khan,
Alauddin Khan.

Unit 4 06
4.1 Description of Prescribed Talas along with Tala Notation with Thah,
Dugun, Tigun and Chaugun prescribed Talas: Jhaptala, Rupak

4.2 Tuning of the Instrument opted for.
Unit 5 06
5.1 Critical study of Prescribed Ragas along with Recognizing Ragas
phrases of Swaras and elaborating them

5.2 Writing in Notation the Compositions of Prescribed Ragas :
Bhairav, Bageshri, Malkauns

4

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(B) Practical
a Max. Marks 70

(i)Topics
1.
One Razakhani Gat in prescribed Ragas Bhairav Bageshri, Malkauns with
simple elaborations, Todas and Jhala.
2. One Masitkhani Gat in prescribed Ragas with simple elaborations and a few
Todas.
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3. Alaap, Jor, Jhala in any one of the prescribed ragas with
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Ability to produce meend of minimum two swaras
4.
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One composition in Ektala or in Jhaptala in any one of the prescribed
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ragas
5.
g l a Ability to recite the kas of Jhaptal, Rupak with Dugun, keeping tala with hand
a beats.
6. Ability to recognize the swaras of the prescribed Ragas sung or played by
the examiner
7. Tuning of instrument opted for.

(ii) Distribution of Marks
Time: 15-20 Minutes for each candidate
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1. External Examiners are requested to ask questions directly related to the syllabus.
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2. Marks should be awarded in accordance with the marking scheme.
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S.No. Value Marks
1. Tuning of Instrumentaand questions regarding instrument 05
2. Aalap, Jor, Jhala with Meend in one choice Raga from
prescribed Ragas: 10+5=15
i. Bhairav
ii. Bageshri
iii. Malkauns
3. One Choice Raga (Masitkhani Gat and Razakhani) from

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prescribed Ragas 15

o m 4. Razakhani Gat with Toda and Jhala of Examiner’s choice
. c 05

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e m 5. One composition in Ektala or in Jhaptala.
l as 05

las 6. Identifying the prescribed Ragas.
a g 5+5=10

ag 7. Reciting the Thekas of prescribed Talas with hand beats in 5+5=10
Thah, Dugun and Chaugun:
i. Jhaptala
ii. Rupak
8. Practical File 05

 External Examiner will refer to the distribution of Marks while examining the
candidate for Practical Examination.
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ag For more Question Papers, Sample Papers, Notes & Syllabus visit Page 10 of 15

HINDUSTANI MUSIC – PERCUSSION INSTRUMENTS
Subject Code - 036
Class XI – XII (2026-27)
Introduction
The course in Percussion Instruments at Secondary and Senior Secondary level, is
being offered to students for the holistic development of their personality. Percussion
Instruments like Tabla/Pakhawaj are some of the finest Indian drum instruments around
the world. Enriched with soulful acoustic sound and beautifully crafted features, these
instruments produce sound based on scientific principles.
Inheriting the concept of Layas and Talas as the key features, Hindustani Music
distinguishes itself from any other rhythmic patterns in the world, representing India's
unique rich cultural heritage. It is one of the two major Tala traditions of Indian classical
music, the other being the Carnatic tradition. Hindustani Percussion Instruments have
developed in India with roots tracking back to the Vedic period, and evolved significantly
during the medieval era. Initially being accompanying instruments to various musical
forms, percussion instruments have established themselves as solo instruments today.
Objectives
 It is important to carry forward the rich heritage and tradition of Hindustani
Classical - Percussion Music to the next generation and to familiarize students
with its rich history and diversity.
 To ensure the correct rendering of nuances of percussion syllables and
Hindustani talas, pedagogical interventions involving the indigenous, traditional
face-to-face Guru- Shishya (teacher – student) style are incorporated.
 Students learn the techniques of performing Tala and its cycle (Theka), Kayada,
Rela, Baant, Uthan, Peshkar, Tihai and various other compositions, keeping in
mind the aesthetics of Tala presentation, playing style, clarity of bols and the
overall performance.
 Students not only learn a vital aspect of Indian culture but also develop skills and
qualities that benefit their overall growth and personality development. Further
the nerve endings of the performer get pressurize while performing Hindustani
Classical - Percussion Music, which channelizes positive energy in the body.
This may help students enhance their capabilities, both physically and mentally.
 Music is very closely associated with many Science and Arts disciplines. The aim
is also to focus on making students aware of the interdisciplinary approaches in
various musical concepts.
Learning Outcomes
 Understanding the concepts of Indian Tala system.
 Ability to understand the concept of rhythm and the techniques of instrumental
percussion music.
 Ability to handle and perform solo recital on the percussion instrument opted for.
 Ability to understand Laya, Tala, various compositions and Layakaris.
 Developing a scientific approach in all aspects, through the systematic training
adopted during the teaching – learning process.
 Understanding other disciplines and their relation to various aspects of
Hindustani Classical Percussion Music.

1

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HINDUSTANI MUSIC – PERCUSSION INSTRUMENTS
Subject Code - 036
Class XI (2026-27)

Assessment Design
S.No Component Marks
A Theory 30
B Practical 70

Curriculum & Examination Structure

(A) Theory Max. Marks 30
Time: 02 hours
1. Questions to be set with internal choice covering the entire syllabus unit wise
2. Candidate has to attempt at least one question from each unit.
Distribution of Marks

S. No Units Marks

Unit 1
1.1 Description of the Talas prescribed for Class XI. 06
1.2 Description of the following: Kala ,Laya Sangeet
Unit 2 06
2.1 Brief knowledge of Natyashastra with special reference to
Awanaddha Vadya.
Unit 3 06
3.1 Short life sketch of Kudau Singh, Nana Panse,
Unit 4 06
4.1 Brief knowledge on Banaras Gharana
4.2 Salient feature of Kudau Singh Gharana of Pakhawaj
Unit 5 06
5.1 Ability to write in notation of the prescribed Talas and
compositions in Thah (Barabar), Dugun. Chaugunlaya.

5.2 Ability to do Tala Notation of compositions in
prescribed Talas.
Prescribed Talas: Teentala or Adi Tala Jhaptala or Sultala.

2

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(B) Practical a Max. Marks 70

(i) Topics
1. Knowledge of Playing Thekas of Teentala or Aditala, Jhaptala or
Sultala, Ektala or Chautala.
2. Ability to play one Kayada / Rela two Chakradar Tukras or
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Parans, two Sadharan Tukras or Paranin Jhaptala or Sultala
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3. Ability to play two advance Kayadas, one Rela, two Chakardar Tukras
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4. se Knowledge of playing Bedam Tihai in prescribed Talas
or Parans, in Teentala/Aditala

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a5.g Accompaniment of Vocal or Instrumental Music with Ektala or
Chautala in different layas.
6. Solo performance of 10-15 minutes in Teental/Aditala.

(ii) Distribution of Marks
Time: 20-25 Minutes for each candidate
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1. Examiners are requested to ask questions directly related to the syllabus.

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2. Marks should be awarded in accordance with the marking scheme.

g laValue Points
S. No.
a Marks
1. Solo Performance with Peshkar, Uthan, Kayda, Rela, 10
Tukra, Chakradar Paran in Teentala or Aditala

2. Talas of examiner’s choice from the prescribed syllabus 10
Teentala/Aditala/ Jhaptala/Sultala
3. Ability to perform Kayada or Rela, Chakradar Tukra/Paran, 10
Stuti Paran/ Farmaishi Chakradar in Jhaptala or Sultala
m 10
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4. Adalaya Kayada / Rela with Palta in Teentala / Aditala

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5. Damadar and Bedamdar Tihai in prescribed Talas 10
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Accompaniment of Eklata of Chautala in different 10
a 7. Reciting of Tala and Composition with hand boats in 10
different layas.

* Teachers will refer to the distribution of marks while examining the candidate for
practical examination.

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HINDUSTANI MUSIC – PERCUSSION INSTRUMENTS
Subject Code - 036
Class XII (2026-27)

Assessment Design
S.No Component Marks
A Theory 30
B Practical 70

Curriculum & Examination Structure

(A) Theory: Max. Marks 30
Time: 02 hours
1. Questions to be set with internal choice covering the entire syllabus unit wise
2. Candidate has to attempt at least one question from each unit.

Distribution of Marks

S.No Units Marks

Unit 1 06
1.1 Short notes of the following Uthan.
1.2 Comparative study of the following: Chautala-Ektala Jhaptala-
Sultala
Unit 2 06
2.1 Layakari and its varieties

2.2 Brief description of Gharanas of Tabla or Pakhawaj

Unit 3 06
3.1 History of Tabla

Unit 4 06
4.1 Biographies of Pandit Kishan Maharaj, and Ustad Zakir Hussain

4.2 Salient features of style and biography of Raja Chatrapati Singh,
Guru Purushotam Das.

Unit 5 06
5.1 Writing notation of the prescribed Talas and compositions

5.2 Recognition of Talas from given portion of the Thekas and
compositions. Prescribe Talas: Teentala or Adi tala, Rupak or
Tevra

4

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(B) Practical Max. Marks 70

(i) Topics
1. Ability to Play Theka of Rupak on Tabla or Pakhawaj with simple
elaborations.
2. Three Kaydas, One Rela, One Sadharan Tukra or Paran, One Chakradar
Tukra or Paran, One Farmaishi Chakradar in prescribed Talas

3. (a) Ability to play One Advance Kayada/ Rela with Two Paltas and
Tihai, One simple Tukra, One Sadharan Chakradar Tukras or Paran,
Two Damdar Tihais and OneParan in Rupak or Tevra Tala
4. Recitation of the prescribed Talas and composition with Thah, Dugun and
Chaugun Laya keeping Tala with hand beats.
5. A few simple laggis in Dadra on Pakhawaj
6. Knowledge of tuning of instrument opted for
7. Solo performance of any one Tala of choice from the prescribed syllabus
for 10-15 minutes
8. Ability to accompaniment with Folk songs
9. Ability to accompaniment with classical music – vocal

(ii) Distribution of Marks
Time: 20-25 Minutes for each candidate
1. Examiners are requested to ask questions directly related to the syllabus.
2. Marks should be awarded in accordance with the marking scheme.

S. No. Value Points Marks

1. Tuning of Instrument and questions regarding instrument. 10
2. Ability to perform choice Raga performance with Peshkar, 20
Uthan, Kayda, Rela, Tukra, Chakradar, Paran and Gat in any
prescribed Talas: Teentala /Aditala Rupak / Tevra
3. Tala of Examiner’s choice from the prescribe syllabus 15
4. Accompaniment of Ektala/ chautal in Vilambit & Drut Laya 10

5. Reciting of Tala and composition with hand beats in 10
different layas
6. Practical file 05
* External examiner will refer to the distribution of marks while examining the candidate
for practical examination.

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