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BSEB Inter Music practice questions

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Question 1Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In Hindustani sargam notation, which swara is the fourth degree of the shuddha (natural) saptak?

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

Explanation

The shuddha saptak ascends Sa, Re, Ga, Ma, Pa, Dha, Ni. The fourth degree is therefore shuddha Ma, while Ga is third, Pa is fifth and Re is second.

Question 2Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which swara is described as achala (immovable) because it has no komal or tivra variant?

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

Explanation

Pa is fixed in pitch and has only one form, so it is called achala. Ga, Ma and Dha each have a komal or tivra altered form in the twelve-semitonal scheme.

Question 3Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

How many komal swaras are recognised in the standard twelve-swarasthana scheme of Hindustani music?

  1. Three
  2. Two
  3. Five
  4. Four Correct answer.

Explanation

The komal set comprises Re, Ga, Dha and Ni, giving four komal swaras. Only Ma receives the tivra alteration, and Sa and Pa are never altered.

Question 4Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A raga in which the ascending line uses only five swaras while the descending line uses seven is classified as which jati?

  1. Sampurna-audav
  2. Shadav-shadav
  3. Audav-sampurna Correct answer.
  4. Audav-audav

Explanation

Jati is named by pairing the count of aroha swaras with that of avaroha swaras. Five ascending and seven descending gives audav-sampurna, a common shape for ragas such as Malkauns-type pentatonic ascents.

Question 5Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which pair of swaras is varjit (omitted) in the aroha of raga Malkauns?

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

Explanation

Malkauns uses Sa, komal Ga, komal Dha and komal Ni, omitting shuddha Ma and Pa entirely in both directions. This gives it the audav-audav pentatonic jati.

Question 6Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In Bhatkhande's ten-that system, which that contains both shuddha Ma and tivra Ma?

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

Explanation

Kalyan is defined by the use of tivra Ma alongside shuddha Ma, with all other swaras shuddha. Bilawal and Khamaj use only shuddha Ma, and Bhairav uses komal Re and komal Dha.

Question 7Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A performer states that a raga is sangati-pradhan with vakra prayogas in the avaroha. What does this indicate about the raga?

  1. It is performed only in the morning
  2. It has no pakad
  3. Its phrases move in zigzag rather than straight scalar order Correct answer.
  4. It uses only five swaras

Explanation

Vakra means crooked or indirect, so a vakra prayoga turns back on itself instead of following direct scalar order. Sangati-pradhan indicates that such characteristic phrases, rather than a straight scale, define the raga's identity.

Question 8Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In tala terminology, which term denotes the first and most emphatic beat of an avartan?

  1. Khali
  2. Tali
  3. Vibhag
  4. Sam Correct answer.

Explanation

Sam is the first beat of the cycle and carries the greatest weight, marking the point of resolution. Tali are clapped beats, khali is a waved empty beat, and vibhag are the divisions of the cycle.

Question 9Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

How many matras are there in one full avartan of Jhaptal?

  1. Eight
  2. Ten Correct answer.
  3. Seven
  4. Twelve

Explanation

Jhaptal is a ten-matra tala divided 2+3+2+3, with talis on 1, 3, 8 and khali on 6. Rupak has seven, Kaharvatal eight and Ek tal twelve matras.

Question 10Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In Teental, on which matra does the khali fall?

  1. Ninth
  2. Eleventh
  3. Seventh Correct answer.
  4. Third

Explanation

Teental has sixteen matras in four vibhags of four, with tali on 1, 5 and 13 and khali on 9. The seventh matra is not a khali point in Teental.

Question 11Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A tabla player marks a cycle of fourteen matras with talis on 1, 3, 7 and 11 and khali on 9. Which tala is being performed?

  1. Jhumra
  2. Deepchandi
  3. Dhamar
  4. Ada Chautal Correct answer.

Explanation

Ada Chautal is a fourteen-matra tala with khali on the ninth matra, distinguishing it from Dhamar, which is also fourteen matras but has its khali on the sixth. Deepchandi and Jhumra also have fourteen matras but different khali positions.

Question 12Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which laya term describes a tempo roughly double the basic speed of the composition?

  1. Dugun Correct answer.
  2. Barabar
  3. Tigun
  4. Chaogun

Explanation

Dugun means two matras per original matra, i.e. double speed. Barabar is the original speed, tigun is triple and chaogun is quadruple.

Question 13Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A tala whose vibhags are unequal in length and which is counted 2+3+2+3 is best described by which statement?

  1. It is a visham-vibhag tala such as Jhaptal Correct answer.
  2. It must have sixteen matras
  3. It has no khali
  4. It is a sama-vibhag tala like Teental

Explanation

Visham means unequal, so a tala whose divisions differ in length is visham-vibhag; Jhaptal with 2+3+2+3 is the standard example. Teental's four equal vibhags make it sama-vibhag.

Question 14Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In a khyal performance, which section introduces the composition in a slow tempo before the main bandish?

  1. Chhota khyal in drut laya
  2. Sargam geet sung with tabla
  3. Tarana in fast laya
  4. Vilambit alap of the raga, sung before the composition Correct answer.

Explanation

Bada khyal opens in vilambit laya, usually preceded by a free alap that unfolds the raga without tabla. The bandish then follows in the same slow tempo, while drut items come later.

Question 15Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which notation symbol in Bhatkhande's system indicates that a swara is to be sung in the lower octave?

  1. A dot placed below the swara Correct answer.
  2. A dot placed above the swara
  3. A comma after the swara
  4. A horizontal line above the swara

Explanation

In Bhatkhande notation a dot beneath a swara marks the mandra or lower octave, while a dot above marks the tar octave. A line above indicates a tivra or elongated note depending on convention, and commas mark phrase divisions.

Question 16Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In the notation of a bandish, a vertical line drawn across the text most commonly marks what?

  1. A tihai
  2. A change of raga
  3. The start of a new vibhag Correct answer.
  4. The end of the composition

Explanation

Vertical lines in bandish notation are placed at vibhag boundaries, with the sam usually shown by a double or heavier mark. They help the reader align the composition with the tala's divisions.

Question 17Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which of these is the correct ascending order of the three saptak registers in Hindustani music?

  1. Mandra, Madhya, Tar Correct answer.
  2. Tar, Madhya, Mandra
  3. Madhya, Mandra, Tar
  4. Mandra, Tar, Madhya

Explanation

Mandra is the lower octave, Madhya the middle and Tar the upper. The order from low to high is therefore Mandra, Madhya, Tar.

Question 18Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A raga uses komal Re, komal Ga, shuddha Ma, Pa and komal Dha in ascent, with shuddha Dha appearing only in descent. Which that does this most closely match?

  1. Bhairav
  2. Marwa
  3. Todi
  4. Purvi Correct answer.

Explanation

Purvi combines komal Re, komal Ga, tivra Ma, Pa and komal Dha, with shuddha Ma and shuddha Dha in descent. The presence of komal Re with komal Dha and the altered Ma point to Purvi rather than Marwa or Todi.

Question 19Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which statement correctly distinguishes antara from sthayi in a bandish?

  1. Sthayi is instrumental and antara vocal
  2. Sthayi is the tihai and antara the khali section
  3. Sthayi is in drut laya and antara in vilambit
  4. Sthayi uses the lower register and antara the upper register Correct answer.

Explanation

Sthayi is the opening section of a bandish, centred in the mandra and madhya registers, while antara moves into the tar register. The two are text and melody sections of one composition, not different tempos or media.

Question 20Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A composer writes a phrase that is played three times and lands exactly on sam on the third repetition. What is this device called?

  1. Bol
  2. Tihai Correct answer.
  3. Palta
  4. Meend

Explanation

A tihai is a phrase repeated three times so that its final note falls on sam or another tali. Paltas are exercise patterns, bols are rhythmic syllables, and meend is a glide between swaras.

Question 21Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which swara pair forms the vivadi relationship that Bhatkhande used to distinguish certain thats?

  1. Re and Dha
  2. Shuddha Ma and tivra Ma Correct answer.
  3. Komal Ga and shuddha Ga
  4. Sa and Pa

Explanation

Shuddha Ma and tivra Ma are the semitone-adjacent pair whose joint presence defines Kalyan and related thats. Sa and Pa are achala, and komal Ga and shuddha Ga are a whole tone apart.

Question 22Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which tala is a fourteen-matra cycle whose khali falls on the third matra?

  1. Dhamar
  2. Ada Chautal
  3. Jhumra Correct answer.
  4. Teental

Explanation

Jhumra is a fourteen-matra tala with khali on the third matra, often played in vilambit laya. Dhamar has khali on the sixth, Ada Chautal on the ninth and Teental has sixteen matras.

Question 23Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In Hindustani music, what is the function of a pakad?

  1. It is a short phrase that identifies the raga Correct answer.
  2. It marks the khali of a tala
  3. It fixes the tuning of the tanpura
  4. It is the fast concluding composition

Explanation

A pakad is a brief, characteristic phrase that instantly reveals the raga's identity and is used in teaching and improvisation. It is melodic, not a tuning or rhythmic marker.

Question 24Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A student counts a tala as 4+4+4+4 and claps on 1, 5, 9 and 13. Which correction is needed to make this Teental?

  1. The cycle should have twelve matras
  2. The divisions should be 2+3+2+3
  3. The ninth beat should be khali, not a clap Correct answer.
  4. No correction is needed

Explanation

Teental's ninth matra is khali, shown by a wave of the hand rather than a clap. The matra count of sixteen and the 4+4+4+4 division are already correct.

Question 25Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which of these best explains why a raga cannot be defined by its scale alone?

  1. Scales do not specify tempo
  2. Ragas with the same swaras differ through characteristic phrases and vadi emphasis Correct answer.
  3. Only the that determines raga identity
  4. Scales are never used in Hindustani music

Explanation

Several ragas share an identical set of swaras but differ in aroha-avaroha ordering, vadi-samvadi emphasis and signature phrases. Identity therefore rests on prayoga, not on the raw scale.

Question 26Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In Hindustani sargam, which swara is described as achala (immovable) because it has no komal or tivra variant?

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

Explanation

Sa and Pa are the two achala swaras of the seven shuddha swaras; they are fixed in pitch and are never altered to komal or tivra forms. Re, Ga, Dha and Ni each take a komal form, while Ma takes a tivra form, so those swaras are chala. This is why the ten thats can be built only by altering the five chala swaras.

Question 27Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A raga's vadi swara is sung with the greatest frequency and emphasis, and its samvadi is the next most important. Which pair of times is conventionally associated with a raga whose vadi is Pa and samvadi is Sa?

  1. Early morning, at sunrise
  2. Second quarter of the day, about 9 a.m. to noon
  3. Late afternoon, from about 4 to 7 p.m. Correct answer.
  4. Late night, around midnight

Explanation

A raga with vadi Pa and samvadi Sa belongs to the afternoon prahar, the fourth prahar of the day, performed roughly from 4 to 7 p.m. Ragas of this time include Puriya Dhanashri and Marwa in their traditional assignments. The vadi–samvadi pair is one of the standard clues used to place a raga in its prahar.

Question 28Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which statement correctly describes the role of alankar in Hindustani vocal training?

  1. Alankars are patterned swara exercises used to build voice control and fluency across the saptak Correct answer.
  2. Alankars are ornamented taans that replace the bandish in a performance
  3. Alankars are the percussion syllables recited while tuning the tanpura
  4. Alankars are fixed compositions sung only in the antara section of a khyal

Explanation

Alankars are systematic pattern exercises, such as Sa Re Ga Re Sa or Sa Ga Re Ni Sa, practised to develop breath control, intonation and speed across the three saptaks. They are pedagogical tools rather than concert compositions, and they train the voice for later taan and palta work. They are distinct from bandish, which is a composed song set to a raga and tala.

Question 29Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A bandish is notated with the text line divided by a horizontal line and a small cross over one syllable. What does the cross most commonly indicate?

  1. The sam of the tala
  2. A komal swara
  3. A khali vibhag Correct answer.
  4. The start of the antara

Explanation

In Bhatkhande-style notation of a bandish, a small cross (or the symbol 0) marks khali, the unaccented vibhag where the hands are not clapped. A vertical bar divides vibhags, and the numeral 1 marks sam. The cross therefore tells the performer where the empty, unaccented section of the cycle falls in the text.

Question 30Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which description fits a raga classified as sampurna–sampurna?

  1. Seven swaras in ascent and seven in descent Correct answer.
  2. Five swaras in ascent and seven in descent
  3. Six swaras in ascent and six in descent
  4. Seven swaras in ascent and five in descent

Explanation

Jati classification counts the swaras used in aroha and avaroha separately. Sampurna means all seven swaras are present, so sampurna–sampurna denotes seven swaras in both directions. Ragas such as Yaman and Bhairav are commonly cited as sampurna–sampurna.

Question 31Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A student performs a raga in which the ascent omits both Ga and Dha, while the descent uses all seven swaras. Which jati label applies?

  1. Audav–shadav
  2. Audav–sampurna Correct answer.
  3. Shadav–sampurna
  4. Sampurna–audav

Explanation

The first term of the jati pair describes the aroha and the second the avaroha. Omitting two swaras in ascent gives five swaras, which is audav, and using all seven in descent gives sampurna. The correct label is therefore audav–sampurna.

Question 32Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which statement about the aroha and avaroha of a raga is accurate?

  1. Avaroha is the fixed percussion pattern that accompanies the aroha
  2. Aroha and avaroha must always use exactly the same swaras in the same order
  3. Avaroha may include swaras and vakra movements that are absent from aroha Correct answer.
  4. Aroha is performed only by instruments, while avaroha is sung only by voices

Explanation

Many ragas are audav–sampurna or shadav–sampurna, so the descent supplies swaras missing in the ascent. The avaroha may also be vakra, moving in a crooked order rather than a straight scale. This asymmetry is one reason a raga cannot be captured by a single scale.

Question 33Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In a khyal, which section presents the words of the composition in the upper register after the sthayi?

  1. Nom-tom
  2. Antara Correct answer.
  3. Tarana
  4. Aochar

Explanation

The antara is the second section of a bandish, usually set in the upper octave, and it follows the sthayi. It typically explores the upper Sa and beyond, balancing the sthayi's lower register. Aochar, tarana and nom-tom are other forms or improvisatory styles, not the upper section of a bandish.

Question 34Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In a gat composition for sitar, what does the term manjha refer to?

  1. The section where the gat is developed with increasing rhythmic play against the tabla Correct answer.
  2. The opening unmetered alap before the gat
  3. The tuning of the sympathetic strings
  4. The final jhala with fast chikari strokes

Explanation

In instrumental performance the gat is followed by manjha, a developmental section in which melodic phrases are elaborated against the tala. It usually precedes the jhala, where fast chikari strokes drive the climax. Manjha therefore sits between the initial statement of the gat and the final jhala.

Question 35Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A tabla player performs a tihai whose phrases each last three matras and which lands on sam. How many matras does the whole tihai span?

  1. Twelve
  2. Three
  3. Nine Correct answer.
  4. Six

Explanation

A tihai repeats a phrase three times, so a three-matra phrase repeated thrice occupies 3 × 3 = 9 matras. The final matra of the third repetition falls on sam, which is why the tihai is calculated backwards from the landing point. The total span, not the phrase length, is what the question asks for.

Question 36Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which tala has a vibhag structure of 2+2+2+2 with khali on matra 3 and is commonly used for light classical forms?

  1. Keharwa Correct answer.
  2. Dadra
  3. Jhaptal
  4. Rupak

Explanation

Keharwa is an eight-matra tala divided 2+2+2+2, with tali on 1 and 5 and khali on 3 and 7. It is widely used for bhajan, thumri and film songs. Dadra is also eight matras but divides 3+3+2 with khali on 4, so the vibhag pattern distinguishes the two.

Question 37Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

In tala notation, what does the term tali denote?

  1. A clap marking an accented vibhag of the cycle Correct answer.
  2. The final matra of the avartan
  3. The tempo of the composition
  4. An unaccented vibhag shown by a wave of the hand

Explanation

Tali is the clap that marks an accented section of the tala, and each tali has a numbered position in the avartan. Khali, by contrast, is the unaccented vibhag indicated by a wave or a cross. Sam is the first and most emphatic tali, but tali as a general term covers all the clapped positions.

Question 38Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

A performer sings a composition in vilambit laya and then moves to a faster section at exactly twice the speed. Which laya term describes the faster section?

  1. Ati-vilambit
  2. Dugun Correct answer.
  3. Adi laya
  4. Tigun

Explanation

Dugun means the tempo is doubled, so each matra of the original cycle carries two units of the new speed. It is the first and most common laya change after vilambit, followed by tigun and chaugun. Ati-vilambit, by contrast, means a very slow tempo.

Question 39Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which statement best explains why a raga such as Bhairav cannot be defined by its scale alone?

  1. Its tala changes with each performance
  2. Its characteristic phrases, vadi emphasis and movement give it an identity beyond the notes Correct answer.
  3. Its scale contains swaras that are not used in any other raga
  4. It has no fixed aroha or avaroha at all

Explanation

Two ragas may share the same set of swaras yet differ in vadi, samvadi, pakad and characteristic phrases. Bhairav's identity lies in its slow oscillation on komal Re and komal Dha and its specific prayogas, not merely in the notes it uses. Scale is therefore a necessary but not sufficient definition of a raga.

Question 40Hindustani (North Indian) classical music theory: swara, raga, tala, and notation systems

Which pair of thats differs only in the treatment of Ma, with one using shuddha Ma and the other tivra Ma?

  1. Kalyan and Bilawal Correct answer.
  2. Bhairav and Bhairavi
  3. Asavari and Kafi
  4. Bilawal and Khamaj

Explanation

Bilawal uses all shuddha swaras, with shuddha Ma, while Kalyan raises Ma to tivra and keeps the remaining swaras shuddha. The two thats therefore differ precisely in the Ma position. This makes Kalyan the that for evening ragas such as Yaman.

Question 41Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

Raga Yaman is a sampurna raga. What does this term indicate about its structure?

  1. It uses five swaras in aroha and seven in avaroha
  2. It uses seven swaras in aroha but six in avaroha
  3. It uses all seven swaras in both aroha and avaroha Correct answer.
  4. It uses only six swaras and omits Pa

Explanation

Sampurna means complete: all seven swaras appear in both the ascending and descending movements of the raga. Ragas that leave out one or two swaras are called shadav or audav according to how many notes they use. Yaman is the standard example of a sampurna-sampurna raga in the Hindustani system.

Question 42Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

Which phrase is the pakad of Raga Yaman?

  1. P M G R, S R G m
  2. R G m P, d N S
  3. N R G m P, m G R S Correct answer.
  4. G m P d P, m G R S

Explanation

Yaman's pakad is built around tivra Ma and the shuddha Ni below Sa, typically rendered as N R G m P with m G R S in descent. The phrase N R G is a hallmark because Yaman ascends through Ni Re Ga rather than the plain Re Ga of the thaat. Recognising this catch-phrase is the quickest way to identify the raga in performance.

Question 43Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

Raga Bhairavi is traditionally described as a sampurna raga of which thaat?

  1. Bhairavi thaat Correct answer.
  2. Kafi thaat
  3. Asavari thaat
  4. Todi thaat

Explanation

Bhairavi gives its name to the Bhairavi thaat, in which all swaras except Sa and Pa are komal. The raga is sampurna and is commonly used to close a concert. Because it is often rendered with all komal notes, it is the reference scale for that thaat.

Question 44Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

A performer ascends S G m P N S and descends S N D P m G R S in a raga. Which structural category does this describe?

  1. Audav-audav
  2. Audav-sampurna Correct answer.
  3. Sampurna-sampurna
  4. Shadav-shadav

Explanation

The ascent uses five notes (Sa, Ga, tivra Ma, Pa, Ni) while the descent uses all seven, so the raga is audav in aroha and sampurna in avaroha. This mixed classification is written as audav-sampurna. Ragas of this type are common in the Kafi and Asavari families.

Question 45Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

Which swara is vakra in the aroha of Raga Bageshri?

  1. Gandhar, which is approached through Ma Correct answer.
  2. Rishabh, which is skipped entirely
  3. Nishad, which is omitted in ascent
  4. Dhaivat, which is always komal

Explanation

In Bageshri the ascent often moves G m G or reaches Ga through Ma rather than straight from Re, making Ga the vakra swara. The raga is audav in aroha and sampurna in avaroha, with komal Ga and komal Ni. The zigzag treatment of Ga is a recognisable feature of the raga's phrases.

Question 46Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

The pakad of Raga Bhairav is best described by which phrase?

  1. G m P d, d P m G r S Correct answer.
  2. m P d N S, r G m P
  3. P d P m G r, S r S
  4. S r G m, P d N S

Explanation

Bhairav's pakad typically hovers around komal Dha and komal Re, often rendered as G m P d with a return through d P m G r S. The oscillation between komal Re and Ga, and the emphasis on komal Dha, are what identify the raga. A phrase that avoids these komal notes cannot be Bhairav's signature.

Question 47Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

In Raga Khamaj, which swara differs between aroha and avaroha?

  1. Madhyam, shuddha in ascent and tivra in descent
  2. Nishad, shuddha in ascent and komal in descent Correct answer.
  3. Rishabh, komal in ascent and shuddha in descent
  4. Gandhar, shuddha in ascent and komal in descent

Explanation

Khamaj uses shuddha Ni in the ascent but frequently touches komal Ni in the descent, giving the raga its characteristic Khamaj-ang flavour. The aroha is S G m P N S and the avaroha commonly shows n D P. This difference between the two directions is central to identifying Khamaj phrases.

Question 48Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

Raga Todi belongs to which thaat, and which swara is tivra in it?

  1. Todi thaat, with tivra Madhyam Correct answer.
  2. Bhairav thaat, with tivra Madhyam
  3. Asavari thaat, with tivra Madhyam
  4. Poorvi thaat, with tivra Madhyam

Explanation

Todi thaat contains komal Re, Ga and Dha together with tivra Ma, and Raga Todi is its principal representative. The combination of three komal notes with tivra Ma gives the raga its intense, plaintive quality. Todi is a sampurna raga associated with the late morning.

Question 49Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

A student sings S R G m P D n S ascending and S n D P m G R S descending. Which raga is being described?

  1. Raga Malkauns
  2. Raga Kafi Correct answer.
  3. Raga Bhairav
  4. Raga Yaman

Explanation

Kafi uses komal Ga and komal Ni with shuddha Re, Ma, Pa and Dha, matching this scale exactly. It is a sampurna raga of Kafi thaat and has a folk-tinged character. The komal Ni in the descent is a strong identifying feature.

Question 50Prescribed ragas: structure, aroha-avaroha, pakad, and characteristic phrases

Which statement correctly describes the aroha of Raga Desh?

  1. S r G m P d N S, with komal Re and komal Dha
  2. S R m P N S, with Re and Pa prominent and Ga and Dha often omitted Correct answer.
  3. S R G m P D N S, with all seven notes equally used
  4. S G m P n S, with komal Ga and komal Ni

Explanation

Desh is an audav-sampurna raga whose ascent commonly uses Sa, Re, Ma, Pa and Ni, leaving Ga and Dha for the descent. The shuddha Ni and the emphasis on Re and Pa give it a monsoon character. Its phrases often include R m P and P N S.