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BSEH Secondary Music Vocal study materials
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BSEH Secondary Music Vocal practice questions

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Question 1Technical Terminology of Hindustani Music (Sangeet Paribhasha)

In Hindustani sangeet paribhasha, what does the term 'swara' denote?

  1. A type of composition
  2. A rhythmic cycle
  3. A melodic ornament
  4. A musical note or pitch Correct answer.

Explanation

Swara refers to a musical note or pitch, the basic tonal unit of the scale. The seven shuddha swaras form the saptak, and each swara has a defined position and name. It is the foundation on which raga and alankar are built.

Question 2Technical Terminology of Hindustani Music (Sangeet Paribhasha)

How many shuddha swaras are there in the standard Hindustani saptak?

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

Explanation

The saptak contains seven shuddha swaras: Sa, Re, Ga, Ma, Pa, Dha, Ni. The remaining positions arise from vikrit (altered) swaras, giving twelve semitone positions in the octave. The count of seven is the basis for naming the scale.

Question 3Technical Terminology of Hindustani Music (Sangeet Paribhasha)

Which swara is described as 'achal' or immovable in Hindustani terminology?

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

Explanation

Sa and Pa are called achal swaras because they have no vikrit (altered) forms. All other swaras can appear as komal or tivra. This is why Sa and Pa serve as stable reference points in intonation.

Question 4Technical Terminology of Hindustani Music (Sangeet Paribhasha)

The term 'komal' applied to a swara indicates that the note is:

  1. Identical to the shuddha position
  2. Lowered below its shuddha position Correct answer.
  3. Omitted from the raga
  4. Raised above its shuddha position

Explanation

Komal means soft or lowered; a komal swara is intoned below its shuddha position by a semitone. Re, Ga, Dha and Ni commonly take komal forms. Tivra, by contrast, denotes a raised note.

Question 5Technical Terminology of Hindustani Music (Sangeet Paribhasha)

Which swara has a tivra (raised) form in the Hindustani system?

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

Explanation

Only Ma has a tivra form, written as tivra Ma and placed a semitone above shuddha Ma. Sa and Pa are achal, and Re takes only a komal form. Tivra Ma is central to ragas such as Yaman.

Question 6Technical Terminology of Hindustani Music (Sangeet Paribhasha)

In Hindustani terminology, 'aroha' refers to:

  1. The closing phrase of a bandish
  2. The rhythmic cycle of a composition
  3. The ascending movement of a raga Correct answer.
  4. The descending movement of a raga

Explanation

Aroha is the ascending order of swaras in a raga, while avaroha is the descending order. Together they define the raga's melodic contour. Some ragas are described as vakra when the aroha or avaroha moves in a zigzag.

Question 7Technical Terminology of Hindustani Music (Sangeet Paribhasha)

What does 'tala' mean in Hindustani music?

  1. A style of composition
  2. A vocal ornament
  3. A rhythmic cycle Correct answer.
  4. A melodic mode

Explanation

Tala is the metrical framework of Hindustani music, a repeating cycle of beats divided into vibhags. Each tala has a name, a fixed number of matras and characteristic clap and wave positions. It is distinct from raga, which governs pitch.

Question 8Technical Terminology of Hindustani Music (Sangeet Paribhasha)

The term 'matra' in tala terminology denotes:

  1. A single beat or count Correct answer.
  2. The first beat of the cycle
  3. A section of the tala
  4. A fast tempo

Explanation

Matra means one beat or count within the tala cycle. The total number of matras defines the length of the cycle, for example sixteen in teental. Vibhag and sam are separate concepts built on matras.

Question 9Technical Terminology of Hindustani Music (Sangeet Paribhasha)

In a tala, the term 'sam' denotes:

  1. The first and most important beat of the cycle Correct answer.
  2. A beat marked by a wave of the hand
  3. The lightest beat of the cycle
  4. The midpoint of the cycle

Explanation

Sam is the first matra of the tala cycle and carries the greatest structural weight. Compositions and improvisations resolve on sam, and the performer's arrival there is a key marker of control. Khali, by contrast, is marked by a wave.

Question 10Technical Terminology of Hindustani Music (Sangeet Paribhasha)

'Khali' in tala practice is indicated by:

  1. A wave of the hand Correct answer.
  2. A clap of the hand
  3. A nod of the head
  4. A tap of the foot

Explanation

Khali, meaning empty, is shown by a wave of the hand and marks a section with weaker rhythmic weight. It contrasts with tali, which is shown by a clap. Identifying khali is essential for keeping one's place in cycles such as teental.

Question 11Technical Terminology of Hindustani Music (Sangeet Paribhasha)

How many matras are there in teental?

  1. Sixteen Correct answer.
  2. Ten
  3. Twelve
  4. Fourteen

Explanation

Teental has sixteen matras divided into four vibhags of four matras each. Its tali positions fall on matras 1, 5 and 13, with khali on matra 9. It is the most widely used tala in Hindustani music.

Question 12Technical Terminology of Hindustani Music (Sangeet Paribhasha)

The term 'laya' in Hindustani music refers to:

  1. The ornamentation of a note
  2. The number of beats in a cycle
  3. The pitch of the tonic
  4. Tempo or speed of the rhythmic cycle Correct answer.

Explanation

Laya denotes tempo, the speed at which the tala cycle proceeds. It is commonly described as vilambit (slow), madhya (medium) and drut (fast). Layakari refers to the rhythmic play created by varying subdivision against the laya.

Question 13Technical Terminology of Hindustani Music (Sangeet Paribhasha)

'Layakari' in performance refers to:

  1. The selection of raga for a concert
  2. The order of compositions in a recital
  3. The tuning of the tanpura
  4. The play of rhythmic subdivision against the laya Correct answer.

Explanation

Layakari is the art of dividing the beat into patterns such as double or quadruple speed while remaining aligned with the tala. It demonstrates the performer's command of laya and of sam. The technique is judged by clean arrival on sam after complex subdivision.

Question 14Technical Terminology of Hindustani Music (Sangeet Paribhasha)

Which term describes a raga in which the aroha and avaroha do not follow a straight ascending and descending order?

  1. Achal
  2. Sampurna
  3. Vakra Correct answer.
  4. Varjit

Explanation

Vakra means crooked, and a vakra raga uses a zigzag or out-of-order movement in its aroha or avaroha. This gives the raga a distinctive melodic shape. Sampurna, by contrast, means all seven swaras are present.

Question 15Technical Terminology of Hindustani Music (Sangeet Paribhasha)

A raga described as 'audav' contains how many swaras in its aroha or avaroha?

  1. Seven
  2. Five Correct answer.
  3. Four
  4. Six

Explanation

Audav means pentatonic, using five swaras. Shadav denotes six and sampurna denotes seven. Ragas may mix these categories, for example audav in aroha and sampurna in avaroha.

Question 16Technical Terminology of Hindustani Music (Sangeet Paribhasha)

In raga terminology, 'vadi' denotes:

  1. A swara borrowed from another raga
  2. The most important or predominant swara of the raga Correct answer.
  3. The least used swara of the raga
  4. A swara used only in the avaroha

Explanation

Vadi is the principal swara of a raga, the note around which its melodic personality centres. Samvadi is the second most important swara, usually a fourth or fifth away. Anuvadi and vivadi describe supporting and dissonant swaras respectively.

Question 17Technical Terminology of Hindustani Music (Sangeet Paribhasha)

The swara called 'samvadi' in a raga is best described as:

  1. Any komal swara in the raga
  2. The second most important swara after the vadi Correct answer.
  3. The tonic of the performer
  4. The swara that is omitted from the raga

Explanation

Samvadi is the second principal swara, supporting the vadi and usually separated from it by a fourth or fifth. The vadi-samvadi pair shapes the raga's characteristic phrases. Vivadi, by contrast, is a swara treated as dissonant in that raga.

Question 18Technical Terminology of Hindustani Music (Sangeet Paribhasha)

A swara that is deliberately avoided in a particular raga is termed:

  1. Vikrit
  2. Vadi
  3. Vakra
  4. Varjit Correct answer.

Explanation

Varjit means excluded, describing a swara that the raga does not use. For example, raga Bhoopali is varjit of Ma and Ni. This omission is part of what distinguishes the raga's identity.

Question 19Technical Terminology of Hindustani Music (Sangeet Paribhasha)

'Alankar' in the context of swara practice most commonly means:

  1. The tuning of the tabla
  2. The concluding section of a raga
  3. A pattern of swaras used as a vocal exercise Correct answer.
  4. A rhythmic cycle used in dhrupad

Explanation

Alankar refers to palta-style exercises that move through swara patterns to build fluency and accuracy. The term can also mean ornamentation in a broader sense, but in training it denotes sequential patterns. These exercises reinforce scale practice across the saptak.

Question 20Technical Terminology of Hindustani Music (Sangeet Paribhasha)

Which term refers to the characteristic phrase or catch-phrase that identifies a raga?

  1. Peshkar
  2. Padhant
  3. Palta
  4. Pakad Correct answer.

Explanation

Pakad is a short, recognisable phrase that captures the essence of a raga and helps distinguish it from similar ragas. It is often taught alongside aroha and avaroha. Performers use the pakad to establish the raga clearly for listeners.

Question 21Technical Terminology of Hindustani Music (Sangeet Paribhasha)

'Bandish' in Hindustani vocal music refers to:

  1. A fixed composition set in a raga and tala Correct answer.
  2. The tuning of the drone
  3. A type of rhythmic exercise
  4. A free improvisation without metre

Explanation

A bandish is a composed song set to a raga and tala, with fixed lyrics and melody. It provides the framework around which improvisation such as vistaar and taan is developed. Cheez is another term for such a composition, especially in khayal.

Question 22Technical Terminology of Hindustani Music (Sangeet Paribhasha)

In khayal terminology, the first line of a bandish that returns as a refrain is called the:

  1. Sanchari
  2. Abhog
  3. Sthayi Correct answer.
  4. Antara

Explanation

The sthayi is the opening section of a bandish, whose first line serves as the refrain. The antara follows, usually set in a higher register. In khayal, the sthayi anchors the composition and is returned to after improvisation.

Question 23Technical Terminology of Hindustani Music (Sangeet Paribhasha)

The term 'alap' in Hindustani music denotes:

  1. A fast rhythmic passage in tala
  2. A type of drum solo
  3. A slow, unmetred expansion of the raga Correct answer.
  4. A composition with lyrics and refrain

Explanation

Alap is the unmetred, gradual unfolding of a raga that introduces its swaras and mood before the metred composition begins. It moves from lower to higher register with increasing movement. In dhrupad it is elaborated at length, while in khayal it may be brief.

Question 24Technical Terminology of Hindustani Music (Sangeet Paribhasha)

'Taan' in vocal performance refers to:

  1. A beat marked by a wave
  2. A rapid, patterned passage of swaras Correct answer.
  3. A type of drone tuning
  4. A slow introductory phrase

Explanation

Taan is a fast, patterned run of swaras used to embellish a bandish and display technique. It may be sapat (straight) or vakra (zigzag) and must resolve cleanly on sam. Taan is distinct from alap, which is slow and unmetred.

Question 25Technical Terminology of Hindustani Music (Sangeet Paribhasha)

The term 'meend' in vocal music describes:

  1. A high-pitched refrain
  2. A repeated rhythmic pattern
  3. A sharp, detached articulation of a note
  4. A smooth glide from one swara to another Correct answer.

Explanation

Meend is a continuous glide between swaras, produced smoothly without a break. It is a central ornament in Hindustani music and shapes the character of many ragas. It contrasts with detached articulation and with gamak, which involves oscillation.

Question 26Technical Terminology of Hindustani Music (Sangeet Paribhasha)

In Hindustani sangeet paribhasha, the term 'saptak' denotes:

  1. The seven talas used in khayal performance
  2. The set of seven swaras spanning from a swara to its next higher octave repetition Correct answer.
  3. The seven degrees of a single raga's avaroha only
  4. The seven matras of a single tala cycle

Explanation

'Saptak' comes from 'sapta', meaning seven, and refers to the group of seven swaras (Sa Re Ga Ma Pa Dha Ni) extending to the repetition of Sa at the upper octave. It is the basic unit of pitch register, and singers distinguish mandra, madhya and taar saptak on this basis.

Question 27Technical Terminology of Hindustani Music (Sangeet Paribhasha)

A performer deliberately touches a swara only in passing and never rests on it, giving it a subordinate status in the raga. Which term describes such a swara?

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

Explanation

Swara classification in raga paribhasha rests on relative prominence: vadi is the principal swara, samvadi the second in importance, vivadi a swara that is avoided or sounds discordant, and anuvadi the remaining supporting swaras. A swara used only in passing and not dwelt upon functions as an anuvadi.

Question 28Technical Terminology of Hindustani Music (Sangeet Paribhasha)

A bandish is written so that its melodic movement stays within the notes of the raga while the sahitya syllables are fitted to the tala's matras. Which pairing of terms correctly describes these two aspects?

  1. Raga governs the laya and tala governs the raga's vadi
  2. Raga governs the swara content and tala governs the matra placement of the sahitya Correct answer.
  3. Raga governs the matra placement and tala governs the swara content
  4. Raga governs the sahitya and tala governs the swara content

Explanation

In bandish construction the raga supplies the melodic material, that is the permitted swaras and their phrases, while the tala supplies the rhythmic frame of matras into which the sahitya is set. The two work together, each controlling a different dimension of the composition.

Question 29Technical Terminology of Hindustani Music (Sangeet Paribhasha)

In a vilambit khayal, a singer expands a phrase by returning repeatedly to the same swara while the tabla continues its theka. Which concept does this repeated dwelling on a swara most directly illustrate?

  1. Gamak as an oscillating ornament
  2. Sthayi in the sense of a stable, anchored note Correct answer.
  3. Palta as a sequential swara exercise
  4. Kan as a grace note touched from an adjacent swara

Explanation

In khayal parlance, 'sthayi' also carries the sense of steadiness, and a singer dwells on a note to establish it firmly before moving on, giving the raga its anchor. The other terms describe different devices: palta is a sequential exercise, gamak an oscillation, and kan a fleeting grace note.

Question 30Technical Terminology of Hindustani Music (Sangeet Paribhasha)

A raga's chalan shows Sa, then Ga, then Ma in ascent, but its aroha is written as Sa Ga Ma Pa Ni Sa. Which statement best explains this relationship between aroha and chalan?

  1. Aroha and chalan are identical, so a discrepancy shows an error in the notation
  2. Aroha may omit vadi and samvadi, while chalan must always begin on the vadi
  3. Chalan applies only to the avaroha, so ascending movement is governed by aroha alone
  4. Aroha is a schematic scale outline, while chalan records the actual phrase movement of the raga Correct answer.

Explanation

Aroha and avaroha give a condensed scale picture of a raga, whereas chalan describes the way the raga is actually moved in performance, including characteristic turns and skipping of notes. A raga may therefore have an aroha that looks straightforward while its chalan reveals a more distinctive path.

Question 31Raga Knowledge and Notation (Swaralipi)

In Hindustani swaralipi, which symbol placed after a swara raises it by one semitone (komal position for Re, Ga, Dha, Ni)?

  1. A dot above the swara
  2. A horizontal line below the swara Correct answer.
  3. A vertical line above the swara
  4. A curved line above the swara

Explanation

A short horizontal stroke written beneath a swara marks its komal (flattened) form, lowering Re, Ga, Dha or Ni by a semitone from their shuddha positions. Sa and Pa are achala and are never written komal. The mark is placed under the letter so the reader knows the altered pitch at a glance.

Question 32Raga Knowledge and Notation (Swaralipi)

Which swara is written with a vertical line above it to indicate the tivra form?

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

Explanation

Only Ma has a tivra (sharpened) form in the Hindustani system, written with a vertical stroke above the letter. Sa and Pa are fixed (achala) and have no altered form. Re, Ga, Dha and Ni are altered with the komal mark below, not above.

Question 33Raga Knowledge and Notation (Swaralipi)

In standard Hindustani notation, what does a dot placed above a swara letter indicate?

  1. The swara belongs to the tar saptak Correct answer.
  2. The swara belongs to the mandra saptak
  3. The swara is a vivadi note
  4. The swara is to be sung softly

Explanation

A dot above the letter places that swara in the tar (upper) saptak, one octave above the madhya register. The mandra (lower) register is shown by a dot below the letter. Loudness and vivadi status are not encoded by this dot.

Question 34Raga Knowledge and Notation (Swaralipi)

A dot written below a swara letter in swaralipi places that note in which register?

  1. Madhya saptak
  2. Ati-tar saptak
  3. Tar saptak
  4. Mandra saptak Correct answer.

Explanation

The lower dot denotes the mandra saptak, the octave below the singer's middle register. Notes in madhya saptak carry no dot, and the upper dot marks tar saptak. This convention lets a single line of notation show movement across octaves.

Question 35Raga Knowledge and Notation (Swaralipi)

Which pair of swaras is described as achala (immovable) in Hindustani notation?

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

Explanation

Sa and Pa are achala: they have a single fixed pitch and therefore take neither komal nor tivra marks. The other five swaras can appear in altered forms and so carry accidentals in notation. This is why a notation reader never expects a komal or tivra sign on Sa or Pa.

Question 36Raga Knowledge and Notation (Swaralipi)

In swaralipi, a swara written with a tilde-like curved line above it, or joined by a slur to the next note, most directly indicates which ornament?

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

Explanation

A curved line joining two swaras denotes meend, a continuous glide from one pitch to the other without a break. Gamak and murki involve oscillatory or rapid cluster movements and are usually written with other signs or spelled out. Kan is a grace note touching a neighbouring pitch before the main note.

Question 37Raga Knowledge and Notation (Swaralipi)

Which symbol in swaralipi marks a khatka or a fast turn of notes around a main swara?

  1. A short wavy or grouped sign attached to the main swara Correct answer.
  2. A horizontal line under the main swara
  3. A small swara written in brackets before the main note
  4. A dot above the main swara

Explanation

A compact wavy or grouped sign attached to the main swara indicates a khatka, a quick flick of adjacent notes returning to the main pitch. Small bracketed swaras usually denote kan grace notes, while lines and dots serve other functions. The sign is deliberately small because the ornament is fast and subordinate to the main note.

Question 38Raga Knowledge and Notation (Swaralipi)

In a written bandish notation, a vertical bar line is used mainly to show what?

  1. The place where the tabla player changes bol
  2. The end of a vibhag or the sam of the next avartan Correct answer.
  3. The transition from asthai to antara
  4. The point where the singer should take a breath

Explanation

Vertical bar lines divide the cycle into vibhags and mark structural points such as sam and khali, so the reader can see where each avartan begins. Breath marks and tabla bol changes are not the primary function of the bar line. Asthai and antara are labelled separately in the notation.

Question 39Raga Knowledge and Notation (Swaralipi)

A raga's notation shows the phrase 'S R G M | P - M G R S'. Which term best describes the way the phrase descends from Pa back to Sa?

  1. Avroha Correct answer.
  2. Aroha
  3. Vadi
  4. Pakad

Explanation

Avroha is the descending order of swaras used in a raga, and a phrase moving from a higher note back to Sa illustrates it. Aroha is the ascending order. Pakad is a short identifying phrase, and vadi is the most prominent note, so neither names the descending line itself.

Question 40Raga Knowledge and Notation (Swaralipi)

A raga is notated with komal Ga and komal Ni but shuddha Re and shuddha Dha. Which scale does this set of swaras match?

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

Explanation

Kafi thaat uses shuddha Sa Re Ma Pa Dha with komal Ga and komal Ni, exactly matching the given set. Bilawal has all shuddha swaras, Bhairav has komal Re and komal Dha, and Kalyan has tivra Ma. Reading the accidentals in notation therefore identifies the thaat.

Question 41Raga Knowledge and Notation (Swaralipi)

In a notation, the swara sequence reads: S R G M(tivra) P D N S. Which thaat does this ascending line indicate?

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

Explanation

The line shows all shuddha swaras except tivra Ma, which is the defining feature of Kalyan thaat. Marwa and Poorvi also use tivra Ma but additionally require komal Re, and Todi uses komal Re, Ga and Dha. Only Kalyan matches the fully shuddha ascending line with tivra Ma.

Question 42Raga Knowledge and Notation (Swaralipi)

A bandish is written in teental with the sam marked at the start. If the notation shows the antara beginning exactly on the thirteenth matra, which vibhag does that matra open?

  1. The fourth vibhag Correct answer.
  2. The third vibhag
  3. The first vibhag
  4. The second vibhag

Explanation

Teental has sixteen matras in four vibhags of four, so matras 13 to 16 form the fourth vibhag. Matra 13 therefore opens the fourth vibhag, which is the khali section in teental. Counting vibhags from the sam confirms the antara entry point.

Question 43Raga Knowledge and Notation (Swaralipi)

In notation of a raga, the phrase 'P M G R S' appears where Pa is the vadi and the raga is performed mainly in the evening. Which type of raga is most consistent with this descending emphasis toward Sa?

  1. A purvangavadi raga emphasising the lower tetrachord Correct answer.
  2. A sampurna raga with all seven notes
  3. A vakra raga with a zigzag phrase
  4. An uttarangavadi raga emphasising the upper tetrachord

Explanation

A phrase that dwells on Pa and resolves downward through Ma Ga Re to Sa stresses the lower tetrachord, the purvanga, which is characteristic of purvangavadi ragas. Uttaranga emphasis would concentrate on Pa Dha Ni and the upper register. Sampurna and vakra describe note count and phrase shape, not which tetrachord dominates.

Question 44Raga Knowledge and Notation (Swaralipi)

A student notates a raga phrase and marks the komal sign on Sa. What is wrong with this notation?

  1. Sa is achala and cannot take a komal mark Correct answer.
  2. Sa can be komal only in the mandra saptak
  3. Sa should carry a tivra mark instead
  4. The komal mark belongs only above the letter

Explanation

Sa is one of the two achala swaras and has a single fixed pitch, so it never takes komal or tivra accidentals. The komal mark is reserved for Re, Ga, Dha and Ni. Marking Sa komal is a basic notation error that changes the reference pitch of the whole scale.

Question 45Raga Knowledge and Notation (Swaralipi)

In a written composition, the symbol '-' (a dash) between two swaras most commonly indicates what?

  1. A komal accidental
  2. A rest of one matra
  3. A held or sustained note Correct answer.
  4. The start of the antara

Explanation

A dash after a swara shows that the note is sustained or elongated across the following matra, allowing the singer to hold the pitch. It is not a rest, an accidental, or a section marker. Reading dashes correctly is essential for placing a bandish accurately against the tal.

Question 46Raga Knowledge and Notation (Swaralipi)

A notation shows the same swara letter written twice with a small horizontal line above the second one. In many teaching notations this most nearly suggests what?

  1. The second note is in the tar saptak Correct answer.
  2. The second note is komal
  3. The second note is a vivadi
  4. The second note is to be omitted

Explanation

A horizontal line above a swara letter is a common teaching notation for the tar saptak, equivalent to the upper dot. It signals that the repeated note has jumped an octave. Komal uses a line below, and omission or vivadi status is not shown this way.

Question 47Raga Knowledge and Notation (Swaralipi)

A raga notation contains the phrase 'N S R G M' with Ni komal, and the sam is placed on the tar Sa. Which feature does this phrase most clearly illustrate?

  1. A poorvangavadi movement
  2. An ascent crossing into the tar saptak Correct answer.
  3. Avaroha of the raga
  4. A vakra phrase

Explanation

The phrase begins on komal Ni in madhya saptak and rises to Sa in the tar saptak, shown by the octave dot. This is an ascending crossing of the octave boundary rather than a descent or a crooked phrase. Recognising the register shift is central to reading swaralipi correctly.

Question 48Raga Knowledge and Notation (Swaralipi)

In a notation of a tarana, syllables are written under the swaras. What is the primary purpose of aligning syllables beneath the notes?

  1. To indicate the tal's theka bols
  2. To show which syllable is sung on which swara and matra Correct answer.
  3. To show the raga's vadi
  4. To mark the komal notes

Explanation

Aligning syllables under the swaras links text to pitch and rhythm, so the performer knows exactly which syllable sounds on each note and matra. Theka bols are written separately above the line, and komal or vadi information comes from other marks. This alignment is essential for bandish and tarana notation.

Question 49Raga Knowledge and Notation (Swaralipi)

A raga is notated with komal Re, komal Ga, shuddha Ma, tivra Ma, komal Dha and komal Ni. Which thaat does this set of swaras indicate?

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

Explanation

Poorvi thaat combines komal Re, komal Dha and tivra Ma with shuddha Ga, Ma and Ni, matching the given set. Todi additionally flattens Ga, Bhairav lacks tivra Ma, and Marwa uses komal Re with tivra Ma but shuddha Dha. Checking each accidental against the thaat table confirms Poorvi.

Question 50Raga Knowledge and Notation (Swaralipi)

A composition is marked in rupak tal. Where does khali fall in rupak tal's vibhags?

  1. On the first matra, which is khali Correct answer.
  2. On the fourth matra
  3. On the ninth matra
  4. On the seventh matra

Explanation

Rupak tal has seven matras in three vibhags, and unusually its first matra is khali rather than tali, with sam coinciding with khali. The other vibhags carry tali. This is why rupak is often described as beginning on khali, a distinctive feature in notation.