SB 001 - Theory paper I – Introduction to Indian Music
1. Distinctive features of Indian music.
2. Study of musical terms
i. Nada
ii. Sruthi
iii. Sthayi
iv. Svara
a) Vadi
b) Samvadi
c) Anuvadi
d) Vivadi
v. Dasavidha Gamaka
vi. Trayodasa lakshanas
vii. Acoustic terms
a) Timbre
b) Harmonics
c) Echo
d) Resonance
e) Reverberation
f) Vibration
3. Raga
i. Janaka – Janya classification
ii. Scheme of 72 melakartas
iii. Janya raga classification
a) Upanga ragas
b) Bhashanga ragas
c) Varja ragas
d) Vakra ragas
e) Nishadantya, Dhaivatantya and Panchamantya ragas
f) Ghana, naya, desya ragas
4. Tala
i. Definition of tala
ii. Angas of tala
iii. Sapta talas
iv. Scheme of 35 talas
v. Scheme of 175 talas
vi. Talas figuring in concerts
5. Instruments
i. General classification of music instrument
ii. Detailed study of Tanpura and Veena
SB 002 - Theory paper II - Compositional forms in Carnatic Music
1. Musical forms
i. Gitam
a) Samanyagitam
b) Lakshana gitam
ii. Svarajathi
iii. Jathisvaram
iv. Varnam
a) Tanavarnam
b) Padavarnam
v. Kirtanam
vi. Kriti
a) Decorative angas
b) Literary beauties
vii. Padam
viii. Javali
ix. Thillana.
x. Ragamalika
2. Raga lakshana
i. Mayamalavagowla
ii. Sankarabharanam
iii. Kalyani
iv. Kharaharapriya
v. Mohanam
vi. Hamsadhwani
3. Notation
i. Svara
ii. Duration
iii. Tala
iv. Sthayi
v. Other significant symbols.
4. Life and contribution of the listed Composers
i. Purandaradasa
ii. Tyagaraja
iii. Muthuswami Dikshitar
iv. Syama Sastri
v. Swathi Thirunal
vi. Irayimman Thampi
SB 003 - Theory Paper III – Introduction to different branches of music
1. Fundamental principles of Hindustani music
i. 10 Thaats
ii. Musical forms – Dhrupad, Khayal, Thumri, Tarana
iii. An outline knowledge of gharanas
2. Fundamental principles of Western music
i. Basic symbols used in Staff notation
3. Regional music
i. Music in Kathakali and instruments used in it.
ii. Folk music
iii. Tiruppugazh and Tevaram
iv. Musical stone pillars
4. Seats of music
i. Tanjore
ii. Mysore
iii. Travancore
SB 004 – Theory Paper IV – Evolution of Carnatic Music
1. History of music
i. Ancient period
ii. Medieval period
iii. Modern period
iv. History of Hindustani music
2. Brief study of the lakshana granthas,
i. Natyasastra
ii. Sangita ratnakara
iii. Chaturdandi Prakasika
3. Manodharma Sangeetha – A brief study
i. Thanam
ii. Ragalapana
iii. Niraval
iv. Kalpana svara
v. Pallavi
SB 005 - Practical Paper I – Abhyasaganam 1
1. Preliminary excercises in three degrees of speed
i. Sarali varisa – 8
ii. Jantavarisa – 8
iii. Madhyasthayi varisa
iv. Dhattu varisa – 2
2. Alankaras should be sung in three degrees of speed in the following ragas
i. Kharaharapriya
ii. Sankarabharanam
iii. Mohanam
iv. Hamsadhwani
v. Kalyani
3. Samanya Gitam – 3
4. Lakshana gitam - 1
SB 006 - Practical Paper II – Abhyasaganam 2
1. Jatisvaram - 1
2. Svarajathi - 1 [In the raga Anadabhairavi or Khamas]
3. Varnam in adi tala – 3
4. Varnam in ata tala - 1
SB 007 - Practical Paper III – Simple musical forms
1. Divyanama kirtana - 1
2. Bhajan - 1
3. Devarnama – 1
4. Thillana - 1
SB 008 - Practical Paper IV – Kritis and Manodharma Sangita
1. Krithis with ragalapana and kalpana svaras in the following ragas [two among
the five kritis must be composed by Kerala composers]
i. Mayamalavagowla
ii. Sankarabharanam
iii. Mohanam
iv. Hamsadhwani
v. Kalyani
2. Pancharatnam – 1
SB 001 - Theory paper I – Introduction to Indian Music
6. Distinctive features of Indian music.
7. Study of musical terms
viii. Nada
ix. Sruthi
x. Sthayi
xi. Svara
e) Vadi
f) Samvadi
g) Anuvadi
h) Vivadi
xii. Dasavidha Gamaka
xiii. Trayodasa lakshanas
xiv. Acoustic terms
g) Timbre
h) Harmonics
i) Echo
j) Resonance
k) Reverberation
l) Vibration
8. Raga
iv. Janaka – Janya classification
v. Scheme of 72 melakartas
vi. Janya raga classification
g) Upanga ragas
h) Bhashanga ragas
i) Varja ragas
j) Vakra ragas
k) Nishadantya, Dhaivatantya and Panchamantya ragas
l) Ghana, naya, desya ragas
9. Tala
vii. Definition of tala
viii. Angas of tala
ix. Sapta talas
x. Scheme of 35 talas
xi. Scheme of 175 talas
xii. Talas figuring in concerts
10. Instruments
iii. General classification of music instrument
iv. Detailed study of Tanpura and Veena
SB 002 - Theory paper II - Compositional forms in Carnatic Music
5. Musical forms
xi. Gitam
c) Samanyagitam
d) Lakshana gitam
xii. Svarajathi
xiii. Jathisvaram
xiv. Varnam
c) Tanavarnam
d) Padavarnam
xv. Kirtanam
xvi. Kriti
c) Decorative angas
d) Literary beauties
xvii. Padam
xviii. Javali
xix. Thillana.
xx. Ragamalika
6. Raga lakshana
vii. Mayamalavagowla
viii. Sankarabharanam
ix. Kalyani
x. Kharaharapriya
xi. Mohanam
xii. Hamsadhwani
7. Notation
vi. Svara
vii. Duration
viii. Tala
ix. Sthayi
x. Other significant symbols.
8. Life and contribution of the listed Composers
vii. Purandaradasa
viii. Tyagaraja
ix. Muthuswami Dikshitar
x. Syama Sastri
xi. Swathi Thirunal
xii. Irayimman Thampi
SB 003 - Theory Paper III – Introduction to different branches of music
5. Fundamental principles of Hindustani music
iv. 10 Thaats
v. Musical forms – Dhrupad, Khayal, Thumri, Tarana
vi. An outline knowledge of gharanas
6. Fundamental principles of Western music
ii. Basic symbols used in Staff notation
7. Regional music
v. Music in Kathakali and instruments used in it.
vi. Folk music
vii. Tiruppugazh and Tevaram
viii. Musical stone pillars
8. Seats of music
iv. Tanjore
v. Mysore
vi. Travancore
SB 004 – Theory Paper IV – Evolution of Carnatic Music
4. History of music
v. Ancient period
vi. Medieval period
vii. Modern period
viii. History of Hindustani music
5. Brief study of the lakshana granthas,
iv. Natyasastra
v. Sangita ratnakara
vi. Chaturdandi Prakasika
6. Manodharma Sangeetha – A brief study
vi. Thanam
vii. Ragalapana
viii. Niraval
ix. Kalpana svara
x. Pallavi
SB 005 - Practical Paper I – Abhyasaganam 1
5. Preliminary excercises in three degrees of speed
v. Sarali varisa – 8
vi. Jantavarisa – 8
vii. Madhyasthayi varisa
viii. Dhattu varisa – 2
6. Alankaras should be sung in three degrees of speed in the following ragas
vi. Kharaharapriya
vii. Sankarabharanam
viii. Mohanam
ix. Hamsadhwani
x. Kalyani
7. Samanya Gitam – 3
8. Lakshana gitam - 1
SB 006 - Practical Paper II – Abhyasaganam 2
5. Jatisvaram - 1
6. Svarajathi - 1 [In the raga Anadabhairavi or Khamas]
7. Varnam in adi tala – 3
8. Varnam in ata tala - 1
SB 007 - Practical Paper III – Simple musical forms
5. Divyanama kirtana - 1
6. Bhajan - 1
7. Devarnama – 1
8. Thillana - 1
SB 008 - Practical Paper IV – Kritis and Manodharma Sangita
3. Krithis with ragalapana and kalpana svaras in the following ragas [two among
the five kritis must be composed by Kerala composers]
vi. Mayamalavagowla
vii. Sankarabharanam
viii. Mohanam
ix. Hamsadhwani
x. Kalyani
4. Pancharatnam – 1
SB 001 - Theory paper I – Introduction to Indian Music
11. Distinctive features of Indian music.
12. Study of musical terms
xv. Nada
xvi. Sruthi
xvii. Sthayi
xviii. Svara
i) Vadi
j) Samvadi
k) Anuvadi
l) Vivadi
xix. Dasavidha Gamaka
xx. Trayodasa lakshanas
xxi. Acoustic terms
m) Timbre
n) Harmonics
o) Echo
p) Resonance
q) Reverberation
r) Vibration
13. Raga
vii. Janaka – Janya classification
viii. Scheme of 72 melakartas
ix. Janya raga classification
m) Upanga ragas
n) Bhashanga ragas
o) Varja ragas
p) Vakra ragas
q) Nishadantya, Dhaivatantya and Panchamantya ragas
r) Ghana, naya, desya ragas
14. Tala
xiii. Definition of tala
xiv. Angas of tala
xv. Sapta talas
xvi. Scheme of 35 talas
xvii. Scheme of 175 talas
xviii. Talas figuring in concerts
15. Instruments
v. General classification of music instrument
vi. Detailed study of Tanpura and Veena
SB 002 - Theory paper II - Compositional forms in Carnatic Music
9. Musical forms
xxi. Gitam
e) Samanyagitam
f) Lakshana gitam
xxii. Svarajathi
xxiii. Jathisvaram
xxiv. Varnam
e) Tanavarnam
f) Padavarnam
xxv. Kirtanam
xxvi. Kriti
e) Decorative angas
f) Literary beauties
xxvii. Padam
xxviii. Javali
xxix. Thillana.
xxx. Ragamalika
10. Raga lakshana
xiii. Mayamalavagowla
xiv. Sankarabharanam
xv. Kalyani
xvi. Kharaharapriya
xvii. Mohanam
xviii. Hamsadhwani
11. Notation
xi. Svara
xii. Duration
xiii. Tala
xiv. Sthayi
xv. Other significant symbols.
12. Life and contribution of the listed Composers
xiii. Purandaradasa
xiv. Tyagaraja
xv. Muthuswami Dikshitar
xvi. Syama Sastri
xvii. Swathi Thirunal
xviii. Irayimman Thampi
SB 003 - Theory Paper III – Introduction to different branches of music
9. Fundamental principles of Hindustani music
vii. 10 Thaats
viii. Musical forms – Dhrupad, Khayal, Thumri, Tarana
ix. An outline knowledge of gharanas
10. Fundamental principles of Western music
iii. Basic symbols used in Staff notation
11. Regional music
ix. Music in Kathakali and instruments used in it.
x. Folk music
xi. Tiruppugazh and Tevaram
xii. Musical stone pillars
12. Seats of music
vii. Tanjore
viii. Mysore
ix. Travancore
SB 004 – Theory Paper IV – Evolution of Carnatic Music
7. History of music
ix. Ancient period
x. Medieval period
xi. Modern period
xii. History of Hindustani music
8. Brief study of the lakshana granthas,
vii. Natyasastra
viii. Sangita ratnakara
ix. Chaturdandi Prakasika
9. Manodharma Sangeetha – A brief study
xi. Thanam
xii. Ragalapana
xiii. Niraval
xiv. Kalpana svara
xv. Pallavi
SB 005 - Practical Paper I – Abhyasaganam 1
9. Preliminary excercises in three degrees of speed
ix. Sarali varisa – 8
x. Jantavarisa – 8
xi. Madhyasthayi varisa
xii. Dhattu varisa – 2
10. Alankaras should be sung in three degrees of speed in the following ragas
xi. Kharaharapriya
xii. Sankarabharanam
xiii. Mohanam
xiv. Hamsadhwani
xv. Kalyani
11. Samanya Gitam – 3
12. Lakshana gitam - 1
SB 006 - Practical Paper II – Abhyasaganam 2
9. Jatisvaram - 1
10. Svarajathi - 1 [In the raga Anadabhairavi or Khamas]
11. Varnam in adi tala – 3
12. Varnam in ata tala - 1
SB 007 - Practical Paper III – Simple musical forms
9. Divyanama kirtana - 1
10. Bhajan - 1
11. Devarnama – 1
12. Thillana - 1
SB 008 - Practical Paper IV – Kritis and Manodharma Sangita
5. Krithis with ragalapana and kalpana svaras in the following ragas [two among
the five kritis must be composed by Kerala composers]
xi. Mayamalavagowla
xii. Sankarabharanam
xiii. Mohanam
xiv. Hamsadhwani
xv. Kalyani
6. Pancharatnam – 1
SB 001 - Theory paper I – Introduction to Indian Music
16. Distinctive features of Indian music.
17. Study of musical terms
xxii. Nada
xxiii. Sruthi
xxiv. Sthayi
xxv. Svara
m) Vadi
n) Samvadi
o) Anuvadi
p) Vivadi
xxvi. Dasavidha Gamaka
xxvii. Trayodasa lakshanas
xxviii. Acoustic terms
s) Timbre
t) Harmonics
u) Echo
v) Resonance
w) Reverberation
x) Vibration
18. Raga
x. Janaka – Janya classification
xi. Scheme of 72 melakartas
xii. Janya raga classification
s) Upanga ragas
t) Bhashanga ragas
u) Varja ragas
v) Vakra ragas
w) Nishadantya, Dhaivatantya and Panchamantya ragas
x) Ghana, naya, desya ragas
19. Tala
xix. Definition of tala
xx. Angas of tala
xxi. Sapta talas
xxii. Scheme of 35 talas
xxiii. Scheme of 175 talas
xxiv. Talas figuring in concerts
20. Instruments
vii. General classification of music instrument
viii. Detailed study of Tanpura and Veena
SB 002 - Theory paper II - Compositional forms in Carnatic Music
13. Musical forms
xxxi. Gitam
g) Samanyagitam
h) Lakshana gitam
xxxii. Svarajathi
xxxiii. Jathisvaram
xxxiv. Varnam
g) Tanavarnam
h) Padavarnam
xxxv. Kirtanam
xxxvi. Kriti
g) Decorative angas
h) Literary beauties
xxxvii. Padam
xxxviii. Javali
xxxix. Thillana.
xl. Ragamalika
14. Raga lakshana
xix. Mayamalavagowla
xx. Sankarabharanam
xxi. Kalyani
xxii. Kharaharapriya
xxiii. Mohanam
xxiv. Hamsadhwani
15. Notation
xvi. Svara
xvii. Duration
xviii. Tala
xix. Sthayi
xx. Other significant symbols.
16. Life and contribution of the listed Composers
xix. Purandaradasa
xx. Tyagaraja
xxi. Muthuswami Dikshitar
xxii. Syama Sastri
xxiii. Swathi Thirunal
xxiv. Irayimman Thampi
SB 003 - Theory Paper III – Introduction to different branches of music
13. Fundamental principles of Hindustani music
x. 10 Thaats
xi. Musical forms – Dhrupad, Khayal, Thumri, Tarana
xii. An outline knowledge of gharanas
14. Fundamental principles of Western music
iv. Basic symbols used in Staff notation
15. Regional music
xiii. Music in Kathakali and instruments used in it.
xiv. Folk music
xv. Tiruppugazh and Tevaram
xvi. Musical stone pillars
16. Seats of music
x. Tanjore
xi. Mysore
xii. Travancore
SB 004 – Theory Paper IV – Evolution of Carnatic Music
10. History of music
xiii. Ancient period
xiv. Medieval period
xv. Modern period
xvi. History of Hindustani music
11. Brief study of the lakshana granthas,
x. Natyasastra
xi. Sangita ratnakara
xii. Chaturdandi Prakasika
12. Manodharma Sangeetha – A brief study
xvi. Thanam
xvii. Ragalapana
xviii. Niraval
xix. Kalpana svara
xx. Pallavi
SB 005 - Practical Paper I – Abhyasaganam 1
13. Preliminary excercises in three degrees of speed
xiii. Sarali varisa – 8
xiv. Jantavarisa – 8
xv. Madhyasthayi varisa
xvi. Dhattu varisa – 2
14. Alankaras should be sung in three degrees of speed in the following ragas
xvi. Kharaharapriya
xvii. Sankarabharanam
xviii. Mohanam
xix. Hamsadhwani
xx. Kalyani
15. Samanya Gitam – 3
16. Lakshana gitam - 1
SB 006 - Practical Paper II – Abhyasaganam 2
13. Jatisvaram - 1
14. Svarajathi - 1 [In the raga Anadabhairavi or Khamas]
15. Varnam in adi tala – 3
16. Varnam in ata tala - 1
SB 007 - Practical Paper III – Simple musical forms
13. Divyanama kirtana - 1
14. Bhajan - 1
15. Devarnama – 1
16. Thillana - 1
SB 008 - Practical Paper IV – Kritis and Manodharma Sangita
7. Krithis with ragalapana and kalpana svaras in the following ragas [two among
the five kritis must be composed by Kerala composers]
xvi. Mayamalavagowla
xvii. Sankarabharanam
xviii. Mohanam
xix. Hamsadhwani
xx. Kalyani
8. Pancharatnam – 1
SB 001 - Theory paper I – Introduction to Indian Music
21. Distinctive features of Indian music.
22. Study of musical terms
xxix. Nada
xxx. Sruthi
xxxi. Sthayi
xxxii. Svara
q) Vadi
r) Samvadi
s) Anuvadi
t) Vivadi
xxxiii. Dasavidha Gamaka
xxxiv. Trayodasa lakshanas
xxxv. Acoustic terms
y) Timbre
z) Harmonics
aa) Echo
bb) Resonance
cc) Reverberation
dd) Vibration
23. Raga
xiii. Janaka – Janya classification
xiv. Scheme of 72 melakartas
xv. Janya raga classification
y) Upanga ragas
z) Bhashanga ragas
aa) Varja ragas
bb) Vakra ragas
cc) Nishadantya, Dhaivatantya and Panchamantya ragas
dd) Ghana, naya, desya ragas
24. Tala
xxv. Definition of tala
xxvi. Angas of tala
xxvii. Sapta talas
xxviii. Scheme of 35 talas
xxix. Scheme of 175 talas
xxx. Talas figuring in concerts
25. Instruments
ix. General classification of music instrument
x. Detailed study of Tanpura and Veena
SB 002 - Theory paper II - Compositional forms in Carnatic Music
17. Musical forms
xli. Gitam
i) Samanyagitam
j) Lakshana gitam
xlii. Svarajathi
xliii. Jathisvaram
xliv. Varnam
i) Tanavarnam
j) Padavarnam
xlv. Kirtanam
xlvi. Kriti
i) Decorative angas
j) Literary beauties
xlvii. Padam
xlviii. Javali
xlix. Thillana.
l. Ragamalika
18. Raga lakshana
xxv. Mayamalavagowla
xxvi. Sankarabharanam
xxvii. Kalyani
xxviii. Kharaharapriya
xxix. Mohanam
xxx. Hamsadhwani
19. Notation
xxi. Svara
xxii. Duration
xxiii. Tala
xxiv. Sthayi
xxv. Other significant symbols.
20. Life and contribution of the listed Composers
xxv. Purandaradasa
xxvi. Tyagaraja
xxvii. Muthuswami Dikshitar
xxviii. Syama Sastri
xxix. Swathi Thirunal
xxx. Irayimman Thampi
SB 003 - Theory Paper III – Introduction to different branches of music
17. Fundamental principles of Hindustani music
xiii. 10 Thaats
xiv. Musical forms – Dhrupad, Khayal, Thumri, Tarana
xv. An outline knowledge of gharanas
18. Fundamental principles of Western music
v. Basic symbols used in Staff notation
19. Regional music
xvii. Music in Kathakali and instruments used in it.
xviii. Folk music
xix. Tiruppugazh and Tevaram
xx. Musical stone pillars
20. Seats of music
xiii. Tanjore
xiv. Mysore
xv. Travancore
SB 004 – Theory Paper IV – Evolution of Carnatic Music
13. History of music
xvii. Ancient period
xviii. Medieval period
xix. Modern period
xx. History of Hindustani music
14. Brief study of the lakshana granthas,
xiii. Natyasastra
xiv. Sangita ratnakara
xv. Chaturdandi Prakasika
15. Manodharma Sangeetha – A brief study
xxi. Thanam
xxii. Ragalapana
xxiii. Niraval
xxiv. Kalpana svara
xxv. Pallavi
SB 005 - Practical Paper I – Abhyasaganam 1
17. Preliminary excercises in three degrees of speed
xvii. Sarali varisa – 8
xviii. Jantavarisa – 8
xix. Madhyasthayi varisa
xx. Dhattu varisa – 2
18. Alankaras should be sung in three degrees of speed in the following ragas
xxi. Kharaharapriya
xxii. Sankarabharanam
xxiii. Mohanam
xxiv. Hamsadhwani
xxv. Kalyani
19. Samanya Gitam – 3
20. Lakshana gitam - 1
SB 006 - Practical Paper II – Abhyasaganam 2
17. Jatisvaram - 1
18. Svarajathi - 1 [In the raga Anadabhairavi or Khamas]
19. Varnam in adi tala – 3
20. Varnam in ata tala - 1
SB 007 - Practical Paper III – Simple musical forms
17. Divyanama kirtana - 1
18. Bhajan - 1
19. Devarnama – 1
20. Thillana - 1
SB 008 - Practical Paper IV – Kritis and Manodharma Sangita
9. Krithis with ragalapana and kalpana svaras in the following ragas [two among
the five kritis must be composed by Kerala composers]
xxi. Mayamalavagowla
xxii. Sankarabharanam
xxiii. Mohanam
xxiv. Hamsadhwani
xxv. Kalyani
10. Pancharatnam – 1
