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BSEH Secondary Music Instrumental study materials
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BSEH Secondary Music Instrumental practice questions

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Question 1Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

In Hindustani music, how many swaras are traditionally enumerated in the saptak before the octave repeats?

  1. Nine
  2. Five
  3. Twelve
  4. Seven Correct answer.

Explanation

The saptak is the seven-note frame: Sa, Re, Ga, Ma, Pa, Dha, Ni, after which the next Sa begins the upper octave. Twelve refers to the sthāyī positions used to name the twelve semitone classes, not the basic swara count.

Question 2Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which swara pair is described as vikrit (altered) when Re is taken komal in the ascending scale?

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

Explanation

Re, Ga, Dha and Ni each have a shuddha and a komal form, while Ma has shuddha and tivra forms. Sa and Pa are achala (immovable) and have no vikrit variant.

Question 3Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

The three registers of the voice and instrument are named which set of terms?

  1. Sthayi, Antara, Sanchari
  2. Mandra, Madhya, Taar Correct answer.
  3. Komal, Shuddha, Tivra
  4. Vilambit, Madhya, Drut

Explanation

Saptak registers are mandra (lower), madhya (middle) and taar (upper). The other sets name laya speeds, song sections, and swara alterations respectively.

Question 4Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which term denotes a microtonal pitch position used in traditional Hindustani theoretical discussion of the scale?

  1. Swara
  2. Shruti Correct answer.
  3. Raga
  4. Tala

Explanation

Shruti refers to the fine pitch positions from which the swaras are selected; traditional texts speak of twenty-two shrutis in the octave. Swara is the named scale degree, raga the melodic framework, tala the rhythmic cycle.

Question 5Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

In the standard shuddha scale, which swara is sung as the fourth degree and is described as tivra when raised?

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

Explanation

Ma is the fourth degree; its shuddha form is the natural fourth and its altered form is tivra Ma, a semitone higher. Pa, Ga and Ni do not take a tivra form.

Question 6Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A raga that uses five notes in ascent and seven in descent is described by which pair of terms?

  1. Sampurna in both directions
  2. Audav in aroha, sampurna in avaroha Correct answer.
  3. Sampurna in aroha, audav in avaroha
  4. Shadav in aroha, audav in avaroha

Explanation

Aroha is the ascending path and avaroha the descending path, and each may use a different number of notes. Audav means five notes, shadav six, sampurna seven, so five up and seven down is audav aroha with sampurna avaroha.

Question 7Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which statement correctly describes the relationship between shruti and swara in traditional theory?

  1. Each swara contains exactly three shrutis in every modern raga
  2. Shrutis are rhythmic units counted within a tala cycle
  3. Shruti and swara are identical terms used interchangeably
  4. Shrutis are finer pitch positions from which the twelve swara positions are selected Correct answer.

Explanation

Traditional texts treat the octave as divided into fine shruti positions, and the swaras are chosen from among them. The number of shrutis assigned per swara varies between authorities, so no fixed three-per-swara rule holds universally.

Question 8Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A performer sings Sa, Re komal, Ga komal, Ma, Pa, Dha komal, Ni komal. Which scale is this?

  1. Kalyan thaat
  2. Bilawal thaat
  3. Bhairavi thaat Correct answer.
  4. Kafi thaat

Explanation

Bhairavi thaat takes komal Re, Ga, Dha and Ni with shuddha Ma, matching the given notes exactly. Bilawal is all shuddha, Kalyan has tivra Ma, and Kafi has komal Ga and Ni only.

Question 9Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which swara is regarded as the fixed tonic reference against which all other swaras are tuned?

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

Explanation

Sa is the tonic and is achala, so it stays fixed while the other degrees take shuddha, komal or tivra forms. Pa is also achala but is not the tonic reference; Ma and Ni are alterable degrees.

Question 10Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

The term 'vadi' in raga theory refers to which element?

  1. The most prominent or principal note of the raga Correct answer.
  2. The second most important note of the raga
  3. The note on which the composition ends
  4. The lowest note reachable in mandra saptak

Explanation

Vadi is the principal or most emphasised swara of a raga, around which its phrases tend to revolve. The second note in importance is the samvadi, and the concluding note is the nyasa.

Question 11Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

In which saptak register would a male vocalist normally sing the lower tonic below the comfortable middle range?

  1. Taar saptak
  2. Madhya saptak
  3. Ati-taar saptak
  4. Mandra saptak Correct answer.

Explanation

Mandra is the lower register, used for notes below the middle octave and often for the lower Sa. Madhya is the middle register, taar the upper, and ati-taar an extended upper register.

Question 12Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which description correctly distinguishes aroha from avaroha?

  1. Aroha is the ascending order of notes and avaroha the descending order Correct answer.
  2. Aroha is the descending order and avaroha the ascending order
  3. Aroha is the fixed tonic and avaroha the fifth degree
  4. Aroha is the rhythmic cycle and avaroha its closing section

Explanation

Aroha gives the notes in ascending sequence and avaroha in descending sequence, and a raga may use different notes in each direction. This asymmetry is central to how ragas such as those of mixed thaat are described.

Question 13Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A raga omits Ga and Dha entirely in both ascent and descent. Which classification applies?

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

Explanation

Audav denotes a five-note scale, which results when two of the seven degrees are omitted. Shadav is six notes, sampurna seven, and vakra refers to zigzag or non-linear movement rather than note count.

Question 14Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which swara pair is achala and therefore has no komal or tivra variant?

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

Explanation

Sa and Pa are the two achala swaras and are never altered in the standard scale. Re, Ga, Dha and Ni take komal forms, and Ma takes a tivra form.

Question 15Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

The term 'samvadi' designates which note of a raga?

  1. The tonic of the middle octave
  2. The second most important note after the vadi Correct answer.
  3. The note that begins every composition
  4. The note used only in the descent

Explanation

Samvadi is the second in importance to the vadi and usually stands a fourth or fifth from it. It is not necessarily the starting note, and the tonic is Sa rather than a raga-specific role.

Question 16Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which thaat is characterised by tivra Ma together with all other swaras shuddha?

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

Explanation

Kalyan thaat raises Ma to tivra while keeping Re, Ga, Dha and Ni shuddha. Khamaj has komal Ni, Asavari has komal Ga, Dha and Ni, and Bhairav has komal Re and Dha.

Question 17Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

In traditional enumerations, the octave is commonly said to contain how many shrutis?

  1. Twenty-two Correct answer.
  2. Twelve
  3. Seven
  4. Nineteen

Explanation

Classical texts commonly state twenty-two shrutis in the octave, though the exact assignment of shrutis to swaras differs between authorities. Twelve refers to semitone positions and seven to the swara names.

Question 18Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which statement best explains why a raga may use different swaras in aroha and avaroha?

  1. The tonic changes between ascent and descent
  2. Avaroha always uses exactly five notes
  3. Komal swaras are forbidden in descent
  4. Ragas are melodic frameworks, so ascent and descent may follow distinct phrase rules Correct answer.

Explanation

A raga is defined by its melodic behaviour, not merely by a scale, so the notes permitted on the way up may differ from those on the way down. The tonic Sa remains fixed throughout and does not shift with direction.

Question 19Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A student claims that every komal swara lies exactly one shruti below its shuddha form. Which evaluation is correct?

  1. The claim holds only for Sa and Pa
  2. The claim is wrong because komal swaras lie above shuddha
  3. The claim is exact and universally accepted
  4. The claim is too rigid, since shruti assignments per swara vary among authorities Correct answer.

Explanation

Traditional texts disagree on how many shrutis separate shuddha and komal forms, so a fixed one-shruti rule is not universally accepted. Sa and Pa are achala and have no komal form at all, which also undercuts the claim.

Question 20Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which pairing of thaat and its altered swaras is correct?

  1. Bhairav: komal Re and komal Dha Correct answer.
  2. Kalyan: komal Re and tivra Ma
  3. Kafi: tivra Ma and komal Ni
  4. Bilawal: komal Ga and komal Ni

Explanation

Bhairav thaat lowers Re and Dha to komal while keeping the remaining swaras shuddha. Each of the other pairings mixes alterations that belong to different thaats.

Question 21Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which reasoning correctly explains why Sa and Pa cannot be vadi in a scale sense of alteration?

  1. They are always komal in every thaat
  2. They belong only to the taar saptak
  3. They are achala, so they have no komal or tivra form to colour the raga Correct answer.
  4. They are rhythmic markers rather than pitch degrees

Explanation

Achala means immovable: Sa and Pa keep a single pitch position and therefore offer no altered form. Ragas can still emphasise them, but the point here concerns alteration, not prominence.

Question 22Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which statement about the saptak and the number twelve is accurate?

  1. Twelve counts the named swaras and seven the shrutis
  2. Twelve counts the shrutis and seven the thaats
  3. Twelve counts the thaats and seven the talas
  4. Twelve counts semitone pitch classes, while seven counts the named swaras of the saptak Correct answer.

Explanation

The saptak names seven swaras, but once komal and tivra forms are included there are twelve semitone positions in the octave. Thaats are numbered ten in the Bhatkhande system, and tala counts are unrelated to this figure.

Question 23Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which term describes the note on which a raga phrase or composition comes to rest?

  1. Samvadi
  2. Aroha
  3. Vadi
  4. Nyasa Correct answer.

Explanation

Nyasa denotes the resting or concluding note of a phrase or composition. Vadi and samvadi rank notes by importance, while aroha names the ascending order of the scale.

Question 24Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

How many swaras are named in the saptak before the upper Sa is reached?

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

Explanation

Counting from Sa upward gives seven named swaras, and the eighth position is the upper Sa that begins the next saptak. Six would omit one degree, and eight or ten would overcount.

Question 25Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which swara takes a tivra rather than a komal alteration?

  1. Ma Correct answer.
  2. Re
  3. Dha
  4. Ni

Explanation

Ma is the only swara whose altered form is called tivra, a semitone above shuddha Ma. Re, Dha and Ni are altered downward to komal forms instead.

Question 26Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

In Hindustani theory, which term denotes the register or octave range in which a performer sings or plays?

  1. Saptak Correct answer.
  2. Varna
  3. Alankar
  4. Gamak

Explanation

Saptak means the seven-note octave span and is also used for the register in which a performer operates, such as mandra, madhya, or taar saptak. The other terms name ornamentation, melodic movement, or oscillation, none of which refers to register.

Question 27Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A student writes the seven shuddha swaras in order and asks which note names the upper boundary of the saptak when repeated. Which statement is accurate?

  1. The upper Sa is a new pitch class rather than a repetition of the lower Sa.
  2. The upper Sa is always replaced by tivra Ma in ascent.
  3. The upper Sa counts as an eighth distinct swara in the saptak.
  4. The upper Sa repeats the same swara name at double the frequency of the lower Sa. Correct answer.

Explanation

The saptak contains seven named swaras, and the Sa above is the same swara sounding at twice the frequency of the lower Sa, closing the octave. It is a repetition of the same pitch class, not an eighth distinct note or a substitute for another swara.

Question 28Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

Which statement correctly describes the twelve pitch positions commonly used in Hindustani scale practice?

  1. They are twelve thaths from which all ragas are derived.
  2. They are twelve shrutis, each equally spaced within the octave.
  3. They are twelve saptaks used by different voice ranges.
  4. They are the seven shuddha swaras plus five altered forms, giving twelve positions. Correct answer.

Explanation

Practical scale work uses the seven shuddha swaras together with the komal Re, Ga, Dha, Ni and tivra Ma, giving twelve positions. These are swara positions, not shrutis, thaths, or registers, so the other statements confuse distinct categories.

Question 29Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A candidate must name the swara that is altered upward rather than downward from its shuddha position. Which swara is it?

  1. Tivra Madhyam Correct answer.
  2. Komal Rishabh
  3. Komal Gandhar
  4. Komal Nishad

Explanation

Tivra Madhyam is the shuddha Ma raised by one position, so it is the only swara whose alteration moves upward. The komal forms of Re, Ga, Dha, and Ni are all lowered from their shuddha positions.

Question 30Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A teacher asks a student to identify the three standard registers in order from lowest to highest. Which sequence is correct?

  1. Mandra, madhya, taar Correct answer.
  2. Madhya, mandra, taar
  3. Madhya, taar, mandra
  4. Taar, madhya, mandra

Explanation

The three standard registers run from mandra (low) through madhya (middle) to taar (high). A performer's ati-mandra and ati-taar extensions lie beyond these, but the standard ordering is mandra, madhya, taar.

Question 31Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A composition phrase moves from Pa up to the upper Sa and then settles back on Ga. Which pair of varna terms best describes the upward leap followed by the descending return?

  1. Arohi varna followed by avarohi varna Correct answer.
  2. Sthayi varna followed by sanchari varna
  3. Sanchari varna followed by sthayi varna
  4. Avarohi varna followed by arohi varna

Explanation

Varna classifies melodic movement: arohi is upward motion and avarohi is downward motion, so the leap up and the return down are arohi then avarohi. Sthayi denotes staying on one note and sanchari denotes mixed wandering motion.

Question 32Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

In traditional theory, which description best captures what a shruti represents?

  1. A rhythmic cycle counted in matras
  2. A minute interval of pitch used in tuning and intonation theory Correct answer.
  3. A register of the voice spanning one octave
  4. A named scale degree used to build a raga

Explanation

Shruti refers to a minute pitch interval, and traditional texts enumerate twenty-two shrutis within the octave for tuning discussion. Swara is the named scale degree, so shruti and swara belong to different levels of description.

Question 33Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A raga is described as audav-sampurna. Which pair of note counts does this indicate?

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

Explanation

Audav means five and sampurna means seven, so audav-sampurna indicates five notes in aroha and seven in avaroha. Shadav means six, which applies to neither jati named here.

Question 34Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A performer treats Sa as the tonic and tunes Pa a perfect fifth above it. Which statement about these two swaras is correct in traditional theory?

  1. Both are achala and are never altered in any thaat. Correct answer.
  2. Pa is achala while Sa may be tivra in some thaths.
  3. Sa is achala while Pa may be komal in some thaths.
  4. Both are komal in every thaat that uses them.

Explanation

Sa and Pa are achala, meaning they have no komal or tivra variant and remain fixed in all thaths. Alteration in thaat formation is applied only to Re, Ga, Ma, Dha, and Ni.

Question 35Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A student claims that tivra Ma is the fourth degree raised, so the resulting interval from Pa to tivra Ma is a semitone smaller than from Pa to shuddha Ma. Which evaluation is correct?

  1. Incorrect, because tivra Ma lies above shuddha Ma, so the distance down from Pa is smaller. Correct answer.
  2. Correct, because tivra Ma is actually lower in pitch than shuddha Ma.
  3. Incorrect, because Ma has no altered form in Hindustani theory.
  4. Correct, because raising a note always reduces the interval above it.

Explanation

Tivra Ma is shuddha Ma raised by one position, so it sits closer to Pa than shuddha Ma does. The interval from Pa down to tivra Ma is therefore smaller, which contradicts the student's claim.

Question 36Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A raga uses shuddha Re, Ga, Ma, Dha, and Ni, with both Sa and Pa present. Which thaat does this collection of swaras match?

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

Explanation

Bilaval is the all-shuddha thaat, containing Sa, Re, Ga, Ma, Pa, Dha, and Ni without alteration. Kalyan raises Ma, Bhairav lowers Re and Dha, and Kafi lowers Ga and Ni.

Question 37Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

In raga analysis, the term vadi designates which element?

  1. The note used only in the descending phrase
  2. The secondary note that supports the principal degree
  3. The note treated as the tonic reference for tuning
  4. The note on which the raga's phrases most often rest as its principal degree Correct answer.

Explanation

Vadi is the principal or king note of a raga, the degree around which its phrases revolve and on which they most characteristically rest. Samvadi is the supporting consonant note, and Sa is the tonic reference rather than the vadi by definition.

Question 38Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A theorist argues that because Sa and Pa are achala, they cannot function as the altered degree in any thaat. Which reasoning best supports this?

  1. Achala swaras have no komal or tivra form, so no thaat can alter them. Correct answer.
  2. Achala swaras are tuned to the shruti above, so alteration is impossible.
  3. Achala swaras are always vadi, so alteration would change the tonic.
  4. Achala swaras appear only in descent, so ascent cannot alter them.

Explanation

Thaat formation works by lowering Re, Ga, Dha, and Ni or raising Ma; Sa and Pa have no altered variants at all. Since achala literally means immovable, they cannot serve as the altered degree of any thaat.

Question 39Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A student asserts that every komal swara lies exactly one shruti below its shuddha form. Which evaluation is most defensible?

  1. Overstated, since komal denotes a lowered position but the exact shruti distance varies with the theoretical scheme. Correct answer.
  2. Incorrect, because komal swaras are raised rather than lowered.
  3. Correct, since komal always means a one-shruti lowering by definition.
  4. Correct, since all twelve swara positions are equally spaced by one shruti.

Explanation

Komal does mean a lowered form, but traditional shruti assignments differ across texts and do not reduce to a uniform one-shruti step for every komal swara. The safe statement is that komal is a lowered position, with the precise shruti measure varying by scheme.

Question 40Hindustani (North Indian) Music Theory: Saptak, Swara, Shruti, and Fundamental Terminology

A performer sings a phrase that omits Ga and Dha in both ascent and descent while using the remaining five notes. Which jati classification applies?

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

Explanation

Audav denotes a five-note scale, and omitting two of the seven degrees in both directions leaves exactly five notes. Shadav is six notes, sampurna is seven, and vakra describes a crooked or zigzag phrase rather than a note count.

Question 41Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

In Hindustani raga theory, what does the term 'aroha' specifically denote?

  1. The set of notes that may be omitted in ascent
  2. The ascending movement of a raga from lower to higher notes Correct answer.
  3. The pair of notes that receive the greatest emphasis
  4. The descending movement of a raga from higher to lower notes

Explanation

Aroha (or arohi) is the ascending order in which a raga's notes are presented, moving from the lower register upward. It is one of the two directional frameworks, aroha and avaroha, that define a raga's melodic shape. Avaroha is the descending counterpart, and vadi-samvadi concern emphasis rather than direction.

Question 42Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

Which term names the note of a raga that is given the greatest prominence and is treated as its principal melodic centre?

  1. Anuvadi
  2. Samvadi
  3. Vadi Correct answer.
  4. Vivadi

Explanation

The vadi is the principal or 'king' note of a raga, the pitch around which phrases most often resolve and which receives the most emphasis. Samvadi is the secondary consonant note, anuvadi are the remaining consonant notes, and vivadi are notes regarded as dissonant within that raga.

Question 43Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

A raga's aroha uses a straight ascending line while its avaroha moves through a different, more winding sequence of the same notes. What does this situation illustrate?

  1. That ascent and descent may follow different paths in a raga Correct answer.
  2. That the raga has been notated incorrectly
  3. That the vadi changes direction with the melody
  4. That the raga uses only five notes in descent

Explanation

Aroha and avaroha are independent paths, and many ragas ascend and descend by different routes even when the underlying scale is the same. The descending line may be more elaborate or take a different order to preserve the raga's character. This is a normal structural feature, not a notation error.

Question 44Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

In a raga whose scale contains seven notes, the vadi is Ga and the samvadi is Ni. Which relationship between vadi and samvadi does this most closely reflect?

  1. A major second apart
  2. A perfect fourth apart
  3. A perfect fifth or perfect fourth apart Correct answer.
  4. A major seventh apart

Explanation

In the traditional scheme, the samvadi is normally a consonant partner to the vadi, most commonly at the interval of a perfect fourth or perfect fifth. Ga to Ni spans a perfect fifth when both notes are taken in their natural positions. Other intervals are possible in some ragas, but the fourth or fifth is the standard relationship.

Question 45Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

Which statement correctly describes the concept of 'pakad' in a raga?

  1. It is the time of day assigned to the raga
  2. It is a short characteristic phrase that identifies the raga Correct answer.
  3. It is the list of talas used for the raga
  4. It is the full ascending and descending scale of the raga

Explanation

The pakad is a brief, recognisable melodic phrase that captures the essential movement and emphasis of a raga. Musicians use it to identify the raga quickly and to keep improvisation anchored in its character. It is distinct from the aroha-avaroha scale and from the samay (time) assigned to the raga.

Question 46Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

A raga is classified as 'audav' in its aroha and 'sampurna' in its avaroha. How many notes does each direction use?

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

Explanation

Audav means a five-note (pentatonic) framework, while sampurna means a seven-note (heptatonic) framework. An audav aroha with a sampurna avaroha therefore uses five notes going up and seven coming down. Ragas of this mixed type are described by joining the two terms, for example audav-sampurna.

Question 47Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

Which of the following best explains why aroha and avaroha are studied separately rather than as one scale?

  1. Because ascent and descent can differ in note count and in the order of notes Correct answer.
  2. Because the samvadi is only sounded in ascent
  3. Because the vadi is only sounded in descent
  4. Because the descent is always identical to the ascent

Explanation

Treating aroha and avaroha separately allows for ragas in which the two directions use different numbers of notes or different orderings. This directional asymmetry is central to how a raga's identity is preserved. A single undirected scale would lose that information.

Question 48Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

In raga Bhairav, which pair of notes is most characteristically oscillated to give the raga its distinctive colour?

  1. Shuddha Ma and shuddha Ni
  2. Komal Ga and komal Ni
  3. Komal Re and komal Dha Correct answer.
  4. Shuddha Re and shuddha Dha

Explanation

Bhairav is defined by the use of komal Re and komal Dha, both rendered with a slow oscillation (andolan) that gives the raga its grave character. The remaining notes are shuddha. Ragas such as Bhairavi use komal Ga and komal Ni instead, which distinguishes them from Bhairav.

Question 49Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

Raga Yaman is conventionally described as using which set of altered notes?

  1. Tivra Madhyam with all other notes shuddha Correct answer.
  2. Komal Gandhar only
  3. Both komal Gandhar and komal Nishad
  4. Komal Nishad only

Explanation

Yaman is the classic raga of the evening that employs tivra Ma while the other six notes are shuddha. This single altered degree gives the raga its bright, distinctive colour. Ragas using komal Ga or komal Ni belong to different scales.

Question 50Raga: Structure, Aroha-Avaroha, Vadi-Samvadi, and Prescribed Ragas

A performer states that in a particular raga the vadi is Pa and the samvadi is Re. Which pair of notes is being described as the raga's two most important?

  1. The third and the sixth degrees
  2. The fifth and the second degrees Correct answer.
  3. The fourth and the seventh degrees
  4. The tonic and the fifth degrees

Explanation

Counting from Sa as the first degree, Pa is the fifth and Re is the second. When Pa is vadi and Re is samvadi, these two notes form the raga's principal and secondary centres of emphasis. The interval between them is a perfect fourth, a common vadi-samvadi relationship.