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Assam ASSEB Higher Secondary Skill Subject Hindustani Vocal study materials
Assam ASSEB Higher Secondary Skill Subject Hindustani Vocal study resources

Assam ASSEB Higher Secondary Skill Subject Hindustani Vocal practice questions

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Question 1Swar and Swaralipi (notation system)

In Hindustani sargam notation, which syllable is used for the fourth degree (shuddha madhyam) of the saptak?

  1. Pa
  2. Ni
  3. Ma Correct answer.
  4. Ga

Explanation

The seven shuddha svaras are sung as Sa, Re, Ga, Ma, Pa, Dha, Ni. The fourth position belongs to madhyam, whose shuddha form is sung as Ma. Pa is the fifth and Ga the third, so neither can stand for the fourth degree.

Question 2Swar and Swaralipi (notation system)

How is a komal (flattened) svara normally indicated in written swaralipi?

  1. By writing the syllable in capitals
  2. By a horizontal line above the syllable
  3. By underlining the syllable Correct answer.
  4. By a dot above the syllable

Explanation

In the standard notation practice, a komal svara is shown by drawing a short line beneath the syllable, for example Re, Ga, Dha and Ni when flattened. Tivra madhyam is marked differently, with a vertical line above the syllable. The underlining therefore distinguishes komal svaras from their shuddha forms.

Question 3Swar and Swaralipi (notation system)

Which svara is the only one that has a tivra (sharpened) form in the Hindustani saptak?

  1. Rishabh
  2. Gandhar
  3. Madhyam Correct answer.
  4. Dhaivat

Explanation

Of the seven svaras, only madhyam has both a shuddha and a tivra form; tivra madhyam lies a semitone above shuddha Ma. Rishabh, gandhar, dhaivat and nishad are altered only in the komal direction. This is why tivra madhyam is written with a vertical mark above the syllable.

Question 4Swar and Swaralipi (notation system)

In swaralipi, what does a curved line placed above a group of svaras usually signify?

  1. A repetition of the phrase
  2. A rest or silence
  3. A change of laya
  4. A meend or glide between the svaras Correct answer.

Explanation

A curved line joining two or more svaras indicates that the notes are to be rendered with a continuous glide rather than separately articulated. This mark is commonly used for meend and similar ornamental movements. It does not denote silence, tempo change or repetition.

Question 5Swar and Swaralipi (notation system)

A svara written with a small horizontal line above it, as in the syllable for madhyam, denotes which alteration?

  1. Shuddha madhyam
  2. Ati-komal madhyam
  3. Tivra madhyam Correct answer.
  4. Komal madhyam

Explanation

A vertical or horizontal stroke above the syllable Ma marks tivra madhyam, the raised fourth degree. Komal notes are marked below the syllable, not above it. There is no separate ati-komal madhyam in the standard saptak.

Question 6Swar and Swaralipi (notation system)

In the Bhatkhande notation system, how is the saptak (octave) of a svara indicated?

  1. By numbers written after the syllable
  2. By the size of the letter
  3. By dots placed above or below the syllable Correct answer.
  4. By the colour of the syllable

Explanation

Bhatkhande's system distinguishes registers by dots: a dot above the syllable marks the upper (tar) saptak and a dot below marks the lower (mandra) saptak, while the middle saptak carries no dot. This allows the same syllable to be read at the correct pitch level. Colour, letter size and trailing numbers are not part of the convention.

Question 7Swar and Swaralipi (notation system)

A composition is written with the syllable Sa carrying a dot above it and the following syllable carrying a dot below it. What does this indicate about the melodic movement?

  1. An ascent from mandra saptak to tar saptak
  2. Both svaras lie in the madhya saptak
  3. Both svaras lie in the ati-tar saptak
  4. A descent from tar saptak to mandra saptak Correct answer.

Explanation

A dot above the syllable places that svara in the tar (upper) saptak, and a dot below places the next one in the mandra (lower) saptak. Reading left to right, the phrase therefore moves downward across registers. The movement is a descent, not an ascent, and neither note is in the middle register.

Question 8Swar and Swaralipi (notation system)

In swaralipi, the symbol '-' written between two svaras most commonly stands for which ornament?

  1. Gamak
  2. Kan
  3. Khatka
  4. Meend Correct answer.

Explanation

A dash joining two svaras indicates a smooth glide from one pitch to the other, that is meend. Kan is a grace note written as a small syllable, gamak involves a shaken rendering, and khatka is a cluster of quick notes. The dash specifically denotes the connecting glide.

Question 9Swar and Swaralipi (notation system)

Which pair of svaras is written with komal marks in the raga Bhairav's ascent as commonly notated?

  1. Ga and Ni
  2. Ma and Pa
  3. Re and Dha Correct answer.
  4. Sa and Pa

Explanation

Bhairav uses komal rishabh and komal dhaivat alongside shuddha gandhar and shuddha nishad. In notation, Re and Dha therefore appear with the komal underline. Ga and Ni are shuddha in Bhairav, and Sa and Pa are immovable svaras that have no komal form.

Question 10Swar and Swaralipi (notation system)

What is the correct order of the seven shuddha svaras when written in ascending (aroha) notation?

  1. Sa Ga Re Ma Pa Ni Dha
  2. Sa Re Ma Ga Pa Dha Ni
  3. Sa Re Ga Ma Pa Dha Ni Correct answer.
  4. Sa Re Ga Pa Ma Dha Ni

Explanation

The shuddha saptak ascends in the fixed order Sa, Re, Ga, Ma, Pa, Dha, Ni. Each svara has a fixed position, so Ma always follows Ga and Pa always follows Ma. Any order that swaps these positions misrepresents the scale.

Question 11Swar and Swaralipi (notation system)

In notation, a svara written as a small syllable immediately before a main svara indicates which ornament?

  1. Andolan
  2. Zamzama
  3. Kan Correct answer.
  4. Murki

Explanation

A kan is a grace note: a small, quickly touched svara written just before the principal note it ornaments. Murki is a short cluster of several fast notes, andolan is a slow oscillating swing, and zamzama is a fast ornamental run. The small single preceding syllable is the standard kan sign.

Question 12Swar and Swaralipi (notation system)

A student reads a written bandish in which the syllable Pa carries a dot below and is followed by Sa with no dot. Which statement describes the register of these two svaras?

  1. Pa is in tar saptak and Sa is in madhya saptak
  2. Both belong to the tar saptak
  3. Pa is in mandra saptak and Sa is in madhya saptak Correct answer.
  4. Both belong to the mandra saptak

Explanation

A dot below lowers a svara into the mandra saptak, while an unmarked svara belongs to the madhya saptak. The phrase therefore moves from lower-register Pa up to middle-register Sa. Since only Pa carries the dot, the two notes are not in the same register.

Question 13Swar and Swaralipi (notation system)

Which svara pair is described as achala (immovable) in Hindustani music?

  1. Sa and Pa Correct answer.
  2. Ga and Ni
  3. Ma and Ni
  4. Re and Dha

Explanation

Sa and Pa are called achala because they have neither komal nor tivra forms and keep a fixed position in the scale. Re, Ga, Dha and Ni each have a komal form, and Ma has a tivra form. This is why Sa and Pa never carry alteration marks in notation.

Question 14Swar and Swaralipi (notation system)

In swaralipi, a number such as 0 or a cross mark placed at the end of a phrase usually indicates what?

  1. The sam, the first beat of the cycle Correct answer.
  2. The end of the composition
  3. A rest of one matra
  4. A change of raga

Explanation

In notated compositions the symbol marking sam shows where the first and most important beat of the tala cycle falls. Performers use it to align the composition with the rhythmic cycle. It does not signal a raga change, a measured rest, or the close of the piece.

Question 15Swar and Swaralipi (notation system)

Which statement correctly distinguishes the notation of komal nishad from that of shuddha nishad?

  1. Komal Ni has a dot above; shuddha Ni is underlined
  2. Komal Ni is written in capitals; shuddha Ni is plain
  3. Komal Ni is underlined; shuddha Ni is plain Correct answer.
  4. Komal Ni is plain; shuddha Ni is underlined

Explanation

In the standard swaralipi convention, komal svaras are marked with a line beneath the syllable, so komal nishad appears underlined. Shuddha nishad carries no alteration mark and is written plainly. Dots above indicate register, not komal status, and capitals are not used for this purpose.

Question 16Swar and Swaralipi (notation system)

A written phrase shows the syllables Sa Re Ga, then a wavy line over Ma, then Pa. What is the performer expected to do at Ma?

  1. Render Ma with a gamak-like shake Correct answer.
  2. Skip Ma entirely
  3. Hold Ma for two matras
  4. Sing Ma as a plain steady note

Explanation

A wavy line above a svara is the conventional sign for a shaken or gamak-style rendering of that note. The performer oscillates the pitch rather than sustaining it plainly. The sign does not indicate omission of the note or a specific duration.

Question 17Swar and Swaralipi (notation system)

In Bhatkhande's notation, how are the two parts of a tala cycle commonly separated within a written composition?

  1. By placing a dot over every svara
  2. By a vertical line at each vibhag Correct answer.
  3. By writing the theka in capitals
  4. By underlining the whole line

Explanation

Vertical lines are used to divide the written composition according to the vibhags of the tala, so the reader can see where each section of the cycle begins. This mirrors the structure of the theka. Underlining, capitals and dots serve other notational purposes and do not mark vibhag divisions.

Question 18Swar and Swaralipi (notation system)

A composition is notated with Sa in the madhya saptak, then a svara with a dot above, then a svara with two dots above. What does the double dot indicate?

  1. Tivra svara
  2. Ati-tar saptak Correct answer.
  3. Mandra saptak
  4. Komal svara

Explanation

Register marks are cumulative in the notation: one dot above denotes the tar saptak and two dots above denote the ati-tar saptak, the register above that. A dot below, by contrast, indicates the mandra saptak. Komal and tivra are shown by lines, not by dots.

Question 19Swar and Swaralipi (notation system)

Which feature of swaralipi allows a performer to know the exact matra on which a svara begins?

  1. The size of the syllable
  2. The use of capital letters
  3. The alignment of svaras under the matra columns of the tala Correct answer.
  4. The number of ornaments written

Explanation

In written compositions the svaras are aligned beneath the matra divisions of the tala, so each syllable's horizontal position shows the beat on which it falls. This alignment links melody to rhythm. Letter size, capitals and ornament count carry no rhythmic information of this kind.

Question 20Swar and Swaralipi (notation system)

Which svara is written with neither a komal underline nor a tivra mark in the raga Yaman's scale as usually notated?

  1. Komal Ni
  2. Komal Re
  3. Shuddha Ga Correct answer.
  4. Tivra Ma

Explanation

Yaman uses tivra madhyam and all shuddha svaras otherwise, so shuddha gandhar appears without any alteration mark. Tivra Ma carries the mark above the syllable, and Yaman does not use komal Re or komal Ni at all. The plain syllable therefore belongs to shuddha Ga.

Question 21Raga and its classification

Hindustani sangeet me raga ki utpatti mukhyatah kis gayan-shaili se maani jaati hai?

  1. Khayal gayan
  2. Prabandh gayan Correct answer.
  3. Thumri gayan
  4. Dhrupad gayan

Explanation

Raga ki sanrachna ka udgam prabandh gayan ke yug se juda hai, jahan sur, taal aur pad ke niyam bandhe hue the. Isi prabandh parampara se aage raga ka svarup spasht hua. Dhrupad aur Khayal baad ki shailiyan hain jo raga par hi aadharit hain.

Question 22Raga and its classification

Raga ko 'saptak ke svaron ki vyavasthit sanrachna' ke roop me paribhashit karne par nimn me se kaunsi visheshata anivarya nahi hai?

  1. Kisi ek nishchit taal ka anivarya hona Correct answer.
  2. Vadi-samvadi svar ka nirdharan
  3. Pakad ya chalan ka hona
  4. Aaroh-avroh me nishchit svar

Explanation

Raga svaron ki vyavastha hai; aaroh-avroh, vadi-samvadi aur pakad uske lakshan hain. Raga kisi ek taal se bandha nahi hota, wahi raga alag-alag taalon me gaya ja sakta hai. Isliye nishchit taal ka hona raga ki paribhasha ka anivarya ang nahi hai.

Question 23Raga and its classification

Hindustani sangeet me raga ke teen mukhya prakar maane jaate hain. Inme se kaunsa vikalp sahi hai?

  1. Shuddha, Chhayalag aur Sankirna Correct answer.
  2. Uttaranga, Purvanga aur Madhya
  3. Audav, Shadav aur Sampurna
  4. Vadi, Samvadi aur Anuvadi

Explanation

Raga vargikaran ka ek prakar svaron ki sankhya par aadharit hai, jise jati kaha jaata hai. Uske alag se raga ke prakar Shuddha, Chhayalag aur Sankirna maane jaate hain. Shuddha raga shuddha svaron par, Chhayalag me do ragon ka chhaya, aur Sankirna me adhik ragon ka milan hota hai.

Question 24Raga and its classification

Jis raga me aaroh aur avroh dono me paanch hi svar prayog hote hain, use kis jati ka raga kaha jaata hai?

  1. Audav Correct answer.
  2. Shadav
  3. Sankirna
  4. Sampurna

Explanation

Jati ka nirdharan aaroh aur avroh me prayukt svaron ki sankhya se hota hai. Paanch svaron wale raga Audav jati ke maane jaate hain. Chhah svar Shadav aur saat svar Sampurna jati ke hote hain.

Question 25Raga and its classification

Ek raga ka aaroh Audav aur avroh Sampurna hai. Iski jati ko kya kaha jaayega?

  1. Shadav-Shadav
  2. Audav-Sampurna Correct answer.
  3. Sampurna-Audav
  4. Sampurna-Sampurna

Explanation

Jati likhte samay pehle aaroh ki aur baad me avroh ki svar-sankhya batayi jaati hai. Isliye paanch svar aaroh me aur saat svar avroh me hone par jati Audav-Sampurna hoti hai. Kram ulta karne par arth badal jaata hai.

Question 26Raga and its classification

Bhairav raga me komal Re aur komal Dha ka prayog hota hai. Iske aadhar par Bhairav kis varg me aata hai?

  1. Shuddha raga Correct answer.
  2. Chhayalag raga
  3. Sankirna raga
  4. Misra raga

Explanation

Shuddha raga wahi maana jaata hai jiske svar shuddha ya ek nishchit komal/tivra ke niyam ke anusar hote hain aur jisme kisi doosre raga ki chhaya spasht nahi hoti. Bhairav ke svar apne hi raga ke lakshan banate hain, isme kisi anya raga ka milan nahi. Isliye Bhairav shuddha raga ke antargat aata hai.

Question 27Raga and its classification

Thaat ki avadharana ka mukhya uddeshya kya hai?

  1. Ragon ko svar-samuh ke aadhar par samoohikaran karna Correct answer.
  2. Raga ke vadi svar ko nishchit karna
  3. Gayak ki aawaz ke anusar saptak badalna
  4. Har raga ke liye ek nishchit taal nirdharit karna

Explanation

Thaat svaron ka ek vyavasthit samooh hai jisme saaton svar hote hain aur koi svar chhuta nahi jaata. Iske aadhar par milte-julte svar-samuh wale ragon ko ek varg me rakha jaata hai. Thaat raga ke svaron ka sangathan hai, taal ya aawaz se iska sambandh nahi.

Question 28Raga and its classification

Pandit Vishnu Narayan Bhatkhande ne apne thaat vargikaran me kul kitne thaat maane hain?

  1. Barah
  2. Saat
  3. Nau
  4. Das Correct answer.

Explanation

Bhatkhande ji ne Hindustani ragon ko das thaat me vibhajit kiya, jaise Bilaval, Khamaj, Kafi, Asavari, Bhairav. Har thaat saaton svaron wala svar-samuh hai jisse sambandhit raga nikale jaate hain. Yeh sankhya unke vargikaran ki visheshata hai.

Question 29Raga and its classification

Kaunse thaat me teevra Ma ka prayog hota hai aur uska naam bhi usi svar se juda hai?

  1. Kafi
  2. Kalyan Correct answer.
  3. Asavari
  4. Bhairav

Explanation

Kalyan thaat ki pahchan teevra Ma hai; isi teevra svar ke karan usse Kalyan thaat kaha jaata hai. Is thaat se Yaman jaise raga nikalte hain. Baaki thaat shuddha ya komal svaron ke apne samuh se pehchane jaate hain.

Question 30Raga and its classification

Khamaj thaat ke svaron ki sahi pahchan kya hai?

  1. Teevra Ma ke saath shuddha svar
  2. Komal Ga aur komal Ni
  3. Shuddha svar, sirf komal Ni Correct answer.
  4. Komal Re aur komal Dha

Explanation

Khamaj thaat me saare svar shuddha rehte hain aur keval Ni komal hota hai. Isi komal Ni ke karan is thaat ke ragon me Khamaj ka vishesh rang banta hai. Isse Desh jaise raga nikalte hain.

Question 31Raga and its classification

Kis thaat me komal Ga, komal Dha aur komal Ni, teeno svar komal hote hain?

  1. Kafi
  2. Bhairavi Correct answer.
  3. Poorvi
  4. Bilaval

Explanation

Bhairavi thaat me Re, Ga, Dha aur Ni komal hote hain; isme Ga, Dha aur Ni teeno komal hain. Yeh thaat apne gambhir aur madhur rang ke liye jaana jaata hai. Isse Bhairavi raga nikalta hai.

Question 32Raga and its classification

Poorvi thaat ke svaron ka sahi samuh kaunsa hai?

  1. Komal Ga, komal Dha, komal Ni
  2. Komal Re, teevra Ma, komal Dha Correct answer.
  3. Teevra Ma, komal Ni, shuddha Ga
  4. Komal Re, komal Ga, komal Dha

Explanation

Poorvi thaat me komal Re, teevra Ma aur komal Dha ka prayog hota hai, baaki svar shuddha rehte hain. Yeh svar-samuh Poorvi aur Puriya Dhanashri jaise ragon ka aadhar hai. Isliye teeno vikar Poorvi thaat ki pahchan hain.

Question 33Raga and its classification

Asavari thaat ke svaron ki pahchan kaunsi hai?

  1. Komal Dha, komal Ni, teevra Ma
  2. Komal Ga, komal Ni, teevra Ma
  3. Komal Re, komal Ga, komal Dha
  4. Komal Ga, komal Dha, komal Ni Correct answer.

Explanation

Asavari thaat me Ga, Dha aur Ni komal hote hain, jabki Re aur Ma shuddha rehte hain. Is svar-samuh se Asavari aur Jaunpuri jaise raga bante hain. Isliye teeno komal svar is thaat ki sahi pahchan hain.

Question 34Raga and its classification

Ek raga me aaroh me komal Ni aur avroh me shuddha Ni sunai deta hai. Yeh raga kis thaat se sabse adhik sambandhit hai?

  1. Bhairav
  2. Khamaj Correct answer.
  3. Kalyan
  4. Bilaval

Explanation

Khamaj thaat me Ni komal hota hai, aur Khamaj anga ke ragon me aaroh-avroh ke anusar Ni ka roop badalta hai. Aaroh me komal Ni aur avroh me shuddha Ni ka prayog isi anga ki pahchan hai. Isliye diya gaya vivaran Khamaj thaat se mel khata hai.

Question 35Raga and its classification

Raga ke vargikaran me 'Sankirna raga' ka sahi arth kya hai?

  1. Do ya adhik ragon ke svaron ke milan se bana raga Correct answer.
  2. Keval ek taal me gaya jaane wala raga
  3. Jisme vadi svar nishchit na ho
  4. Keval paanch svaron wala raga

Explanation

Sankirna raga tab banta hai jab do ya adhik ragon ke ang milakar ek naya svarup banaye. Aise raga me alag-alag anga ke svar aur chalan dono dikhte hain. Isliye sankirna hone ka aadhar ragon ka milan hai, svar-sankhya ya taal nahi.

Question 36Raga and its classification

Jis raga me kisi anya raga ke svaron ki chhaya spasht roop se dikhti hai, use kis varg me rakha jaata hai?

  1. Audav raga
  2. Chhayalag raga Correct answer.
  3. Sampurna raga
  4. Shuddha raga

Explanation

Chhayalag raga me mukhya raga ke saath doosre raga ki chhaya sunai deti hai, isliye ise chhaya wala raga kaha jaata hai. Yeh varg svaron ki sankhya se nahi, ragon ke sambandh se banta hai. Audav aur Sampurna jati ke bhed hain, raga ke varg nahi.

Question 37Raga and its classification

Ek raga Yaman ke ang aur Bhairavi ke ang dono ko dikhata hai. Uska vargikaran kaise hoga?

  1. Sampurna raga
  2. Chhayalag raga
  3. Shuddha raga
  4. Sankirna raga Correct answer.

Explanation

Do alag ragon ke ang ek hi raga me milne par woh sankirna raga kehlata hai. Yaman ka teevra Ma aur Bhairavi ke komal svar dono uske svarup me aate hain. Isliye yeh sankirna varg ka udaharan banega.

Question 38Raga and its classification

Raga ke 'jati' shabd ka sambandh kis baat se hai?

  1. Raga ki gayan-shaili
  2. Aaroh-avroh me svaron ki sankhya Correct answer.
  3. Raga ke vadi svar ka sthan
  4. Raga ke samay ka nirdharan

Explanation

Jati raga me aaroh aur avroh me aane wale svaron ki ginti batati hai. Audav, Shadav aur Sampurna jati ke bhed isi ginti par aadharit hain. Vadi svar, gayan-shaili aur samay alag avadharanaayein hain.

Question 39Raga and its classification

Ek raga ke aaroh me chhah svar aur avroh me saat svar hain. Uska jati kram kaunsa hai?

  1. Sampurna-Shadav
  2. Shadav-Audav
  3. Audav-Shadav
  4. Shadav-Sampurna Correct answer.

Explanation

Jati me pehle aaroh ki svar-sankhya aur baad me avroh ki likhi jaati hai. Chhah svar aaroh me Shadav jati banate hain aur saat svar avroh me Sampurna. Isliye sahi kram Shadav-Sampurna hai.

Question 40Raga and its classification

Raga ke samay-chakra ke nirdharan me 'prahar' shabd ka kya arth hai?

  1. Taal ka ek matra-bhed
  2. Din-ratri ka ek nishchit bhaag Correct answer.
  3. Raga ki jati
  4. Raga ka vadi svar

Explanation

Prahar din-ratri ko bhaagon me baantne wali samay-vyavastha hai, jisse raga ke gayan ka samay tay hota hai. Din ke aath prahar aur ratri ke aath prahar maane jaate hain. Isliye prahar samay ka bhaag hai, svar ya taal ka bhed nahi.

Question 41Raga and its classification

Raga ke vargikaran me 'Purvanga' aur 'Uttaranga' kis baat se sambandhit hain?

  1. Raga ke purane aur naye roop
  2. Saptak ke nichle aur upar ke bhaag Correct answer.
  3. Vadi aur samvadi ka bal
  4. Aaroh aur avroh ki gati

Explanation

Purvanga saptak ke nichle bhaag (Sa se Ma tak) ko aur uttaranga upar ke bhaag (Pa se Sa tak) ko batata hai. Raga ke chalan me in bhaagon ka mahatva hota hai. Yeh svar-sthan se juda vargikaran hai, raga ki umar ya gati se nahi.

Question 42Raga and its classification

Ek raga ke svaron me teevra Ma hai aur Re, Ga, Dha, Ni shuddha hain. Yeh svar-samuh kis thaat se milta hai?

  1. Poorvi
  2. Kalyan Correct answer.
  3. Marwa
  4. Kafi

Explanation

Kalyan thaat me keval Ma teevra hota hai aur baaki svar shuddha rehte hain. Diya gaya samuh isi se mel khata hai. Poorvi aur Marwa me teevra Ma ke saath anya komal svar bhi aate hain.

Question 43Raga and its classification

Bilaval thaat ki mukhya pahchan kya hai?

  1. Komal Re aur komal Dha
  2. Komal Ga aur komal Ni
  3. Teevra Ma aur komal Re
  4. Saare svar shuddha Correct answer.

Explanation

Bilaval thaat me saaton svar shuddha hote hain, isliye ise shuddha svaron ka thaat kaha jaata hai. Isi se Bilaval, Alhaiya Bilaval jaise raga bante hain. Komal ya teevra svar is thaat ki pahchan nahi hain.

Question 44Raga and its classification

Kisi raga me aaroh me chaar svar aur avroh me paanch svar prayog hote hain. Is raga ki jati ke baare me kya kaha ja sakta hai?

  1. Yeh Audav-Audav jati ka hai
  2. Yeh Sampurna-Audav jati ka hai
  3. Yeh maany jati bhedo me nahi aata, kyunki Audav se kam svar nahi maane jaate Correct answer.
  4. Yeh Shadav-Audav jati ka hai

Explanation

Jati ke maany bhed Audav, Shadav aur Sampurna hain, jinke svar kramashah paanch, chhah aur saat hote hain. Chaar svaron wali koi maany jati nahi hai. Isliye aisa vivaran raga ke vargikaran ke niyam ke anusar nahi baithta.

Question 45Raga and its classification

Raga ke vargikaran me 'Misra raga' shabd ka prayog kis arth me hota hai?

  1. Keval uttaranga me chalne wale raga ke liye
  2. Keval komal svaron wale raga ke liye
  3. Do ya adhik ragon ke angon ke milan se bane raga ke liye Correct answer.
  4. Jiska koi vadi svar na ho

Explanation

Misra raga ka prayog aksar aise raga ke liye hota hai jisme do ya adhik ragon ke ang milakar naya roop banta hai. Yeh sankirna varg ke kareeb ka prayog hai. Komal svar, uttaranga ya vadi ka abhav iska aadhar nahi hai.

Question 46Raga and its classification

Hindustani sangeet me raga vargikaran ka aadhar mukhya roop se kis baat par nirbhar karta hai, jisse thaat paddhati ka janm hota hai?

  1. Raga ke gaye jaane wale samay par
  2. Raga ke jati aur laya-kari par
  3. Svaron ke samooh aur unke aaroh-avroh ke prayog par Correct answer.
  4. Raga ke bandish ke bol par

Explanation

Thaat vargikaran svaron ke samooh par tika hai; ek thaat saat svaron ka ek nishchit samooh hota hai aur usse bane raga usi samooh ke svaron ko aaroh-avroh me prayog karte hain. Samay, jati aur bandish ke bol raga ki pahchan ke anya pehlu hain, lekin thaat ki neev nahi. Isliye vargikaran ka mool aadhar svar-samooh hai.

Question 47Raga and its classification

Ek raga ke aaroh me Sa Re Ga Ma Pa Dha Ni saat svar hain aur avroh me bhi wahi saat svar shuddh roop me prayog hote hain, kintu raga ka mukhya ang aaroh me adhik spasht hai. Is raga ki jati aur thaat ki pahchan ke baare me kaunsa kathan sahi hai?

  1. Jati sampoorn-sampoorn hai aur raga nishchit roop se Kafi thaat ka hi hoga
  2. Jati sampoorn-audav hai kyunki avroh me svar kam hote hain
  3. Jati audav-sampoorn hai kyunki aaroh me vakrata hai
  4. Jati sampoorn-sampoorn hai aur raga kisi bhi shuddh thaat se jud sakta hai Correct answer.

Explanation

Jab aaroh aur avroh dono me saat svar hote hain to jati sampoorn-sampoorn kehlati hai. Lekin jati sirf svaron ki sankhya batati hai; thaat ka nirdharan svaron ke shuddh ya vikrit roop se hota hai, isliye saat shuddh svar kai thaat me sambhav hain. Aaroh me ang ki spashtata jati ya thaat ko badalti nahi.

Question 48Raga and its classification

Raga Bihag ke svar-samooh ko dekhte hue usse thaat vargikaran me kaunse sthan par rakha jaata hai, aur kyun?

  1. Bhairav thaat me, kyunki usme komal Re aur komal Dha hote hain
  2. Khamaj thaat me, kyunki usme komal Ni ka prayog hota hai
  3. Kalyan thaat me, kyunki usme komal Ga aur komal Dha hote hain
  4. Bilaval thaat me, kyunki usme shuddha Ga aur shuddha Ni ke saath teevra Ma aata hai Correct answer.

Explanation

Bihag me teevra Ma ke saath Re, Ga, Dha aur Ni shuddha roop me milte hain, jo Bilaval thaat ke svar-samooh se mel khata hai; isliye use Bilaval thaat me rakha jaata hai. Thaat ka nirdharan svaron ke shuddh-vikrit roop se hota hai, raga ke chalan ki visheshtaon se nahi. Isi svar-samooh ki pahchan se Bihag ka sthan tay hota hai.

Question 49Raga and its classification

Ek raga aaroh me Re, Ga, Dha aur Ni komal svaron ke saath shuddha Ma ka prayog dikhata hai, aur avroh me kuch svar langh jaate hain. Is raga ka thaat aur uski sthiti ke baare me kaunsa nishkarsh sabse upyukt hai?

  1. Raga Poorvi thaat me aata hai kyunki usme teevra Ma hota hai
  2. Raga Kafi thaat me aata hai kyunki Kafi me bhi komal svar hote hain
  3. Raga Bhairavi thaat me aata hai kyunki Bhairavi me sab svar komal hote hain
  4. Raga Asavari thaat ke kshetra me aata hai aur avroh me svar langhne se uski jati vakr ho sakti hai Correct answer.

Explanation

Komal Ga, komal Dha aur komal Ni ke saath shuddha Ma Asavari thaat ka svar-samooh banata hai, isliye aisa raga Asavari ke kshetra me rakha jaata hai. Avroh me svaron ka langhna jati ko vakr ya audav jaisa bana deta hai, par thaat fir bhi svar-samooh se tay hota hai. Isliye thaat aur jati ko alag-alag dekhna chahiye.

Question 50Raga and its classification

Do raga ek hi thaat ke svar-samooh se bane hain, kintu ek me aaroh me svar seedhe chadhte hain aur doosre me aaroh me hi vakrata dikhti hai. Thaat vargikaran ki drishti se is sthiti ka sabse sahi vishleshan kya hai?

  1. Dono raga ek hi thaat me rahenge, kyunki thaat svar-samooh dekhta hai aur vakrata raga ki apni visheshta hai Correct answer.
  2. Dono raga alag-alag thaat me honge, kyunki aaroh ka chalan thaat badal deta hai
  3. Dono raga ek hi thaat me rahenge kyunki vakrata sirf avroh me dekhi jaati hai
  4. Pehla raga thaat me rahega aur doosra sankirna raga kehlayega

Explanation

Thaat vargikaran ka aadhar saat svaron ka samooh hai, isliye ek hi samooh se bane raga ek hi thaat me rakhe jaate hain. Aaroh-avroh ki vakrata raga ki apni chalan-visheshta hai, jo usse doosre raga se alag karti hai, thaat nahi badalti. Sankirna raga tab hota hai jab do ragaon ke ang spasht roop se milte hain, keval vakrata se nahi.