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BSEH SS Music Melodic study materials
BSEH SS Music Melodic study resources

BSEH SS Music Melodic practice questions

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Question 1Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

In Hindustani music, the term 'swara' most precisely denotes which of the following?

  1. The tempo lay of a performance
  2. The rhythmic cycle of a composition
  3. A single musical note of definite pitch Correct answer.
  4. The ornamental slide between phrases

Explanation

Swara refers to a musical note or tone of definite pitch, the basic melodic unit from which raga is built. Tempo, rhythm and ornamentation belong to other terminologies such as laya, tala and gamak/murki.

Question 2Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

How many shrutis are conventionally said to divide the octave in Hindustani music theory?

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

Explanation

Classical Indian music theory divides the saptak into twenty-two shrutis, the microtonal units used to locate the twelve practical swaras. Seven refers to the svaras of a saptak and twelve to the chromatic positions.

Question 3Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

The term 'saptak' in Hindustani music refers to which concept?

  1. A seven-beat rhythmic cycle
  2. The seven principal ragas of a season
  3. The seven-note register spanning an octave Correct answer.
  4. The seven degrees of tempo

Explanation

Saptak means the set of seven notes spanning an octave, and performances distinguish mandra, madhya and taar saptak. It is a melodic register concept, not a rhythmic or seasonal classification.

Question 4Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which swara is regarded as the fixed tonic (Sadja) around which all other svaras are tuned?

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

Explanation

Sa, or Sadja, is the reference tonic; every other swara is defined by its interval from Sa. Performers may choose any pitch as Sa, but its functional role as the fixed point remains.

Question 5Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

In raga terminology, the swara that is most frequently emphasized and central to the raga's identity is called what?

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

Explanation

The vadi is the principal or king swara of a raga, the note most emphasized in its exposition. Samvadi is the secondary consonant note, anuvadi the assonant supporting notes, and vivadi the dissonant ones.

Question 6Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A swara that is dissonant to the vadi and therefore used sparingly or avoided in a raga is termed what?

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

Explanation

Vivadi svaras are considered dissonant against the raga's vadi and are generally excluded or used with great care. Samvadi and anuvadi are consonant categories, while nyas denotes a resting note.

Question 7Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

The term 'alankar' in Hindustani melodic practice refers to which of the following?

  1. A category of raga classification
  2. A type of drum composition
  3. A rhythmic improvisation in a tala
  4. A melodic ornament or patterned exercise Correct answer.

Explanation

Alankar denotes melodic ornamentation and also the patterned exercises built on svaras used in training. It is a melodic device, distinct from tala-based rhythmic composition.

Question 8Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

The 'jati' of a raga classifies it according to which feature?

  1. The region in which it originated
  2. The time of day prescribed for performance
  3. The number of beats in its tala
  4. The number of svaras taken in aroha and avaroha Correct answer.

Explanation

Raga jati is determined by the count of svaras used ascending and descending, giving categories such as audav, shadav and sampurna. Time of day, tala and region are separate classificatory criteria.

Question 9Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A raga that uses five svaras in aroha and five in avaroha belongs to which jati?

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

Explanation

Audav jati denotes five svaras in ascent and descent. Shadav denotes six, sampurna seven, and kutap is a mixed jati combining different counts.

Question 10Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

If a raga takes six svaras in aroha and seven in avaroha, its jati is best described as which?

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

Explanation

The jati pair is stated in the order ascent then descent, so six ascending and seven descending gives shadav-sampurna. Reversing the order would change the label.

Question 11Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which pair correctly matches a swara with its traditional abbreviation in Hindustani notation?

  1. Tivra Madhyam - Ma
  2. Shuddha Rishabh - Re Correct answer.
  3. Komal Nishad - Ni
  4. Komal Gandhar - Ga

Explanation

Shuddha Rishabh is abbreviated Re, the natural second degree. Komal and tivra alterations are marked separately, so the plain abbreviation alone does not denote the altered form.

Question 12Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

In the phrase 'Sa Re Ga Ma Pa', the interval between Sa and Pa is traditionally described as which?

  1. A dissonant second relationship
  2. An octave relationship
  3. A consonant fifth relationship Correct answer.
  4. A chromatic semitone

Explanation

Pa is the fifth above Sa and is treated as a strongly consonant relationship in Indian theory, comparable to the perfect fifth. It is not a semitone, an octave, or a dissonant second.

Question 13Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A raga in which Pa is the samvadi and Sa is the vadi would most likely be performed with emphasis on which relationship?

  1. A consonant tonic-fifth axis Correct answer.
  2. An octave-only recitation
  3. A dissonant pairing to be avoided
  4. A tonic-semitone clash

Explanation

Vadi and samvadi are chosen for consonance, and Sa with Pa forms the classic tonic-fifth axis heard in many evening ragas. Such a pairing is emphasized rather than avoided.

Question 14Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which statement best distinguishes 'anuvadi' from 'samvadi'?

  1. Anuvadi notes are forbidden; samvadi notes are obligatory
  2. Anuvadi and samvadi are identical categories
  3. Anuvadi is the principal note; samvadi is dissonant
  4. Anuvadi notes support the raga; samvadi is the secondary consonant note Correct answer.

Explanation

Anuvadi svaras are assonant supporting notes that fill out the raga, while samvadi is the single secondary consonant note second in importance to the vadi. The two categories differ in rank and function.

Question 15Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

The term 'gayan-shaili' in Hindustani music refers to which aspect of performance?

  1. The tuning of the tanpura
  2. The style or manner of singing Correct answer.
  3. The construction of the tabla
  4. The seating arrangement of musicians

Explanation

Gayan-shaili means the manner or style of singing, encompassing the aesthetic approach a performer adopts. It concerns vocal presentation rather than instrument construction or ensemble layout.

Question 16Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which gayan-shaili is characterized by a relaxed, ornate, slow-tempo elaboration associated with khayal singing?

  1. Khayal ang Correct answer.
  2. Thumri ang
  3. Dhrupad ang
  4. Tappa ang

Explanation

Khayal ang denotes the ornamental, improvisation-rich style of khayal, with slower vilambit elaboration and intricate taans. Dhrupad ang is more austere, while tappa and thumri ang have their own distinctive characters.

Question 17Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A raga uses all seven svaras in both aroha and avaroha. Its jati is which?

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

Explanation

Sampurna jati denotes the use of all seven svaras in both directions. Shadav and audav denote six and five respectively, and kutap is a mixed category.

Question 18Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

In the saptak, which swaras are classified as 'komal' in their altered form?

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

Explanation

Komal (flattened) forms exist for Re, Ga, Dha and Ni, the four svaras that have a komal variant. Sa and Pa are fixed, while Ma's altered form is tivra rather than komal.

Question 19Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which swara has a 'tivra' altered form rather than a 'komal' one?

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

Explanation

Madhyam is the only swara whose altered form is tivra (sharpened), giving tivra Madhyam. Ga, Dha and Ni have komal forms instead.

Question 20Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

In a raga whose vadi is Ga and samvadi is Ni, which note would typically receive the greatest emphasis in alap?

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

Explanation

The vadi receives the greatest emphasis in alap, so with Ga as vadi it becomes the focal note. Ni as samvadi is secondary, while Sa and Ma may be supporting or passing notes.

Question 21Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which of the following best describes the relationship between shruti and swara?

  1. Shruti is a microtonal unit used to locate swaras Correct answer.
  2. Shruti is a type of ornament applied to swaras
  3. Shruti is a rhythmic unit used to locate talas
  4. Shruti is a category of raga classification

Explanation

Shrutis are the fine microtonal divisions from which the practical swaras are located within the octave. They are a pitch concept, not rhythmic, ornamental or classificatory.

Question 22Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A performer sings a phrase that repeatedly returns to rest on Ma before moving on. In raga analysis, Ma in this context functions as what?

  1. A tivra swara
  2. A nyas swara Correct answer.
  3. A vivadi swara
  4. A varja swara

Explanation

A note on which phrases come to rest is called a nyas swara, an important structural marker of raga phrasing. Vivadi means dissonant, varja means omitted, and tivra refers to the sharpened form of Ma.

Question 23Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which statement about a varja swara in a raga is accurate?

  1. It is a note that defines the tala
  2. It is a note deliberately omitted from the raga Correct answer.
  3. It is the raga's most emphasized note
  4. It is a note that must be sung at the octave

Explanation

Varja means omitted: a varja swara is excluded from the raga's melodic material. This omission is one determinant of the raga's jati, since fewer notes yield audav or shadav counts.

Question 24Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A raga's aroha uses Sa Re Ga Pa Dha and its avaroha uses Sa Ni Dha Pa Ga Re. Which description of its jati is correct?

  1. It is sampurna-sampurna, since all notes appear
  2. Audav-sampurna would require seven descending notes, which is not the case
  3. It is shadav-audav, since six ascend and five descend
  4. It is audav-shadav, since five ascend and six descend Correct answer.

Explanation

Counting the ascent gives five svaras and the descent gives six, so the jati is audav-shadav, stated ascent first. The differing counts also make it a mixed or kutap-type jati.

Question 25Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Which pairing of a gayan-shaili with its characteristic feature is most accurate?

  1. Thumri ang - austere syllabic recitation
  2. Khayal ang - improvisatory elaboration with taans Correct answer.
  3. Dhrupad ang - ornate fast taans
  4. Tappa ang - slow static alap

Explanation

Khayal ang is marked by improvisatory elaboration, including vistaar and taans within a composed bandish. Dhrupad ang is austere, tappa ang is fast and restless, and thumri ang is expressive and light-classical.

Question 26Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

In the Hindustani saptak, how many shruti are traditionally reckoned to divide the octave?

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

Explanation

Traditional Hindustani theory divides the saptak into twenty-two shruti, which are the finest microtonal units used to locate the svaras. The seven svaras and their twelve practical positions (shuddha, komal, tivra) are understood as being drawn from these twenty-two shruti. Twelve refers to the practical chromatic positions, not the shruti count.

Question 27Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A raga's aroha is Sa Re Ma Pa Ni and its avaroha is Sa Ni Pa Ma Re. Which jati does this raga belong to?

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

Explanation

Jati is counted separately for aroha and avaroha, and the ascending and descending orders here each contain five svaras. Five svaras in both directions gives audav-audav. Any answer naming shadav or sampurna would require six or seven svaras in the relevant direction.

Question 28Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

In raga theory, which statement correctly describes the functional role of a vivadi swara?

  1. It is a svara that ranks second in importance after the vadi and marks the raga's second resting point
  2. It is a svara that conflicts with the raga's established vadi and is therefore excluded or used with great care Correct answer.
  3. It is a svara that supports the vadi and is sounded frequently in the raga's phrases
  4. It is a svara that is neutral in the raga and serves only to fill the space between important notes

Explanation

The four svara categories are graded by consonance with the vadi: vadi is chief, samvadi supports it, anuvadi is neutral accompaniment, and vivadi is dissonant. A vivadi svara clashes with the raga's tonal centre and is therefore normally omitted or touched only fleetingly. This is why ragas with the same scale can differ purely through which notes they treat as vivadi.

Question 29Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

A singer wishes to demonstrate a raga whose vadi is Pa and whose samvadi is Re. Which pair of svaras should be treated as the principal and secondary points of emphasis?

  1. Re as principal, Pa as secondary
  2. Sa as principal, Pa as secondary
  3. Pa as principal, Re as secondary Correct answer.
  4. Pa as principal, Ga as secondary

Explanation

By definition the vadi is the principal svara of the raga and the samvadi is the secondary svara that supports it. If Pa is vadi and Re is samvadi, then Pa receives the greatest emphasis and Re the next greatest. Sa remains the tonic of the scale but is not automatically the vadi of every raga.

Question 30Technical terminology of Hindustani (melodic) music: swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili

Two ragas share the same set of svaras, yet one is described as having a poorva-anga-pradhan gayan-shaili and the other an uttar-anga-pradhan one. What does this distinction describe?

  1. Whether the raga uses shuddha svaras or altered svaras
  2. Whether the raga's phrases and emphasis centre on the lower tetrachord or on the upper tetrachord Correct answer.
  3. Whether the raga is sung by a male voice or a female voice
  4. Whether the raga is performed in a fast tempo or a slow tempo

Explanation

Poorva-anga refers to the lower half of the saptak (roughly Sa to Ma) and uttar-anga to the upper half (Pa to the upper Sa). A raga whose gayan-shaili is poorva-anga-pradhan dwells in and resolves toward the lower region, while an uttar-anga-pradhan raga emphasises the upper region. Because this is a matter of phrase movement rather than scale, two ragas can share identical svaras and still differ in this way.

Question 31Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

In Hindustani raga lakshana, what does the term 'pakad' specifically identify?

  1. The vadi and samvadi swaras of the raga
  2. The prescribed time of day for performance
  3. A short phrase that captures the raga's characteristic movement Correct answer.
  4. The ascending and descending scale of the raga

Explanation

Pakad means 'catch' or 'grip': a compact melodic phrase that immediately establishes the raga's identity through its characteristic turns and emphasized notes. It is distinct from the aroha-avaroha, which gives the scale order, and from the vadi-samvadi, which gives the chief and secondary notes.

Question 32Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which pair of notes forms the vadi-samvadi relationship in a Hindustani raga?

  1. The notes sung at the moment of sam
  2. The two notes that are always omitted in ascent
  3. The principal note and the secondary consonant note Correct answer.
  4. The first and last notes of the avaroha

Explanation

Vadi is the principal or 'king' note of a raga, and samvadi is the secondary note that supports it, usually a fourth or fifth away. Together they define the raga's gravitational center and shape its phrasing.

Question 33Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Raga Bhairav is traditionally prescribed for which period of performance?

  1. Midnight, around the third prahar
  2. Morning, particularly the first prahar Correct answer.
  3. Late afternoon, around the fourth prahar
  4. Late evening, around the second prahar

Explanation

Bhairav belongs to the early-morning group of ragas, associated with the first prahar of the day. Its slow, grave komal re and komal dha give it the solemn sunrise character described in treatises.

Question 34Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which swara is omitted in the aroha of raga Bhoopali?

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

Explanation

Bhoopali is an audav (five-note) raga using Sa Re Ga Pa Dha in ascent, so both Ma and Ni are absent. Of the options given, only Ma is a swara that Bhoopali omits.

Question 35Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

A raga that uses five notes in ascent and seven in descent is classified as which jati?

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

Explanation

Jati is described by the number of notes in aroha and avaroha respectively: audav is five, shadav six, and sampurna seven. A five-note ascent with a seven-note descent is therefore audav-sampurna, a common shape in ragas such as Bhoopali-type variants and Desh.

Question 36Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which note is the vadi of raga Yaman?

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

Explanation

Yaman is dominated by tivra Ma and the sharpened Ga, and its vadi is Ga with Ni as samvadi. Phrases repeatedly settle on Ga, which gives the raga its serene evening character.

Question 37Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

The term 'varjit swara' in raga lakshana refers to what?

  1. A note used only in the pakad
  2. A note sung only in the avaroha
  3. A note held for several beats
  4. A note excluded from the raga's scale Correct answer.

Explanation

Varjit means 'omitted': a varjit swara is a degree deliberately left out of a raga's melodic material, producing an audav or shadav scale. For example, Ma and Ni are varjit in Bhoopali.

Question 38Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Raga Todi is traditionally associated with which time of day?

  1. Evening twilight
  2. Early afternoon
  3. Late morning Correct answer.
  4. Late night

Explanation

Todi belongs to the late-morning group, usually the second prahar of the day. Its komal re, ga, dha and tivra Ma create the intense, yearning quality associated with that hour.

Question 39Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Comparing Bhairav and Bhairavi, which statement correctly describes their swara material?

  1. Bhairav uses komal Re and komal Dha, while Bhairavi uses komal Re, Ga, Dha and Ni Correct answer.
  2. Both use shuddha Re and shuddha Dha
  3. Bhairav uses komal Ga, while Bhairavi uses shuddha Ga
  4. Both omit Ma entirely in ascent

Explanation

Bhairav is built on komal Re and komal Dha with shuddha Ga and Ni, giving a grave morning colour. Bhairavi uses all four komal swaras (Re, Ga, Dha, Ni) and is associated with the concluding or thumri-style context.

Question 40Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

The pakad of raga Yaman typically emphasizes which characteristic movement?

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

Explanation

Yaman's identifying phrase moves through Ni Re Ga and touches tivra Ma before Pa, which establishes the sharpened fourth and the strong Ga. This contour is what distinguishes Yaman from ragas sharing its scale material.

Question 41Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

A raga has aroha S R G M P D N S and avaroha S N D P M G R S, with komal Ga and komal Ni but shuddha Re and shuddha Dha. Which raga is described?

  1. Bageshri
  2. Kafi Correct answer.
  3. Khamaj
  4. Asavari

Explanation

Kafi uses komal Ga and komal Ni with shuddha Re, Ma, Pa and Dha, and is a sampurna raga associated with the night. The combination of komal Ga and komal Ni with shuddha Dha is the signature that separates it from Khamaj, which has shuddha Ni.

Question 42Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which feature most clearly distinguishes raga Desh from raga Khamaj?

  1. Desh omits Ga in ascent
  2. Desh uses shuddha Ni and emphasizes Re in a characteristic turn, while Khamaj also uses shuddha Ni but has a different vadi and pakad Correct answer.
  3. Desh uses komal Ni throughout
  4. Desh has no Ma in its scale

Explanation

Both Desh and Khamaj use shuddha Ni, so the difference lies in emphasis and phrase shape rather than in a single altered note. Desh is associated with the monsoon and evening, with characteristic touches on Re and the phrase R M P N S, while Khamaj has its own vadi and a more playful thumri association.

Question 43Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

In raga Marwa, which note is typically avoided or treated with great care, giving the raga its unsettled twilight character?

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

Explanation

Marwa is a hexatonic evening raga in which Pa is generally absent, and its identity rests on komal Re and tivra Ma. The missing Pa, together with the strong Re, produces the restless quality associated with sunset.

Question 44Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which time of performance is traditionally assigned to raga Malkauns?

  1. Third prahar of the night Correct answer.
  2. Fourth prahar of the day
  3. First prahar of the night
  4. Second prahar of the day

Explanation

Malkauns is a night raga, traditionally placed in the third prahar, deep in the night. Its audav scale with komal Ga, Dha and Ni and its grave, meditative character suit that late hour.

Question 45Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

A student sings a phrase in raga Bhimpalasi that includes komal Ga and komal Ni with shuddha Ma, but the phrase is sung in the late morning. Which statement best evaluates this performance choice?

  1. The scale belongs to Darbari Kanada and the time is wrong
  2. The scale is wrong because Bhimpalasi uses tivra Ma
  3. The scale matches Bhimpalasi but the time should be early afternoon Correct answer.
  4. The scale is correct for Bhimpalasi and the time is appropriate

Explanation

Bhimpalasi uses komal Ga and komal Ni with shuddha Ma, and it is traditionally assigned to the early afternoon rather than late morning. The scale material is right, but the samay is misplaced in the scenario.

Question 46Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which of these ragas is classified as a sampurna raga in both ascent and descent?

  1. Malkauns
  2. Bhoopali
  3. Bhairav Correct answer.
  4. Hamsadhwani

Explanation

Bhairav uses all seven notes in both aroha and avaroha, making it sampurna-sampurna. Bhoopali, Malkauns and Hamsadhwani are audav ragas with five notes.

Question 47Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

The term 'vakra' in the description of a raga's aroha or avaroha indicates what?

  1. A note held as a drone
  2. A note that is omitted
  3. A zigzag or out-of-order movement of the scale Correct answer.
  4. A change of tempo in the composition

Explanation

Vakra means 'crooked': a vakra aroha or avaroha does not proceed in straight order but turns back or skips, as in ragas where the descent doubles back on itself. This zigzag motion is an important part of a raga's lakshana.

Question 48Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which raga is traditionally associated with the late-night prahar and uses komal Ga, komal Dha and komal Ni with an oscillating Ga?

  1. Kedar
  2. Darbari Kanada Correct answer.
  3. Bihag
  4. Hameer

Explanation

Darbari Kanada is a late-night raga characterized by komal Ga, komal Dha and komal Ni, with a slow oscillation on Ga that gives it a majestic, grave character. The other options are evening or night ragas with shuddha Ga.

Question 49Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

Which statement correctly compares the treatment of Ma in raga Yaman and raga Bhairav?

  1. Both omit Ma in ascent
  2. Yaman uses shuddha Ma, while Bhairav uses tivra Ma
  3. Both use tivra Ma
  4. Yaman uses tivra Ma, while Bhairav uses shuddha Ma Correct answer.

Explanation

Yaman is defined in part by tivra Ma, which gives it its bright evening colour, while Bhairav uses shuddha Ma alongside komal Re and komal Dha. The treatment of Ma is therefore one of the clearest points of contrast between the two ragas.

Question 50Raga knowledge: lakshana, aroha-avaroha, pakad, time of performance, and comparative study of prescribed ragas

In raga Bhairavi, which combination of komal swaras is used?

  1. Ga, Dha and Ni only
  2. Ga and Ni only
  3. Re, Ga, Dha, Ni all komal Correct answer.
  4. Re and Dha only

Explanation

Bhairavi employs all four komal swaras, Re, Ga, Dha and Ni, with shuddha Ma and Pa, producing its deeply plaintive character. It is often used to conclude a concert, and performers sometimes introduce shuddha variants for colour.