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CHSE Odisha Elective Indian Music study materials
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CHSE Odisha Elective Indian Music practice questions

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Question 1Technical Terminology of Indian Music (Sangeet Paribhasha)

In Hindustani sangeet paribhasha, the term 'naad' refers to which concept?

  1. Struck sound produced by percussion instruments
  2. The fixed tonic pitch chosen for a performance
  3. Any audible sound, whether musical or non-musical Correct answer.
  4. The ornamental glide between two notes

Explanation

Naad is the broad Sanskrit term for sound itself, covering both musical and non-musical sound. When such sound becomes pleasing and regulated it is called 'sangeet naad' or 'madhuradhwani'. The other options name specific technical ideas (aahata, sa, meend) rather than the general category of sound.

Question 2Technical Terminology of Indian Music (Sangeet Paribhasha)

The two broad divisions of naad recognised in Indian music theory are:

  1. Aahata and anahata Correct answer.
  2. Uttaranga and purvanga
  3. Vadi and samvadi
  4. Sthayi and antara

Explanation

Indian music theory divides naad into aahata (struck or produced sound) and anahata (unstruck or self-manifest sound). Aahata is the practical sound used in performance, while anahata is mystical and inaudible to ordinary hearing. The other pairs refer to song sections, note importance, and register halves respectively.

Question 3Technical Terminology of Indian Music (Sangeet Paribhasha)

In the saptak, the note that is counted as the fourth swara from shadja is:

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

Explanation

The seven shuddha swaras in order are shadja, rishabh, gandhar, madhyam, pancham, dhaivat, and nishad. Counting from shadja, madhyam occupies the fourth position. Gandhar is third, rishabh is second, and pancham is fifth.

Question 4Technical Terminology of Indian Music (Sangeet Paribhasha)

The swara that is considered immovable (achala) and functions as the tonic in Indian music is:

  1. Madhyam
  2. Shadja Correct answer.
  3. Dhaivat
  4. Nishad

Explanation

Shadja, abbreviated 'sa', is treated as achala because it is the fixed reference pitch of the scale. Every other swara is defined by its interval from shadja. Madhyam, nishad, and dhaivat are all movable in the sense that they have shuddha, komal, or tivra forms.

Question 5Technical Terminology of Indian Music (Sangeet Paribhasha)

A swara lowered by a semitone from its shuddha position, as with komal re, komal ga, komal dha, and komal ni, is described by which term?

  1. Vikrit
  2. Tivra
  3. Shuddha
  4. Komal Correct answer.

Explanation

Komal means soft or lowered, and it names the flattened form of a swara. In the Hindustani system komal applies to rishabh, gandhar, dhaivat, and nishad. Tivra is the raised form, shuddha is the natural form, and vikrit is the general label for any altered swara.

Question 6Technical Terminology of Indian Music (Sangeet Paribhasha)

Which swara is the only one that takes a tivra (raised) form in the Hindustani system?

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

Explanation

Only madhyam has a tivra form, written as tivra Ma and placed a semitone above shuddha madhyam. The other swaras that are altered take the komal form instead. This is why the twelve-tone scale contains one tivra and four komal positions.

Question 7Technical Terminology of Indian Music (Sangeet Paribhasha)

In sangeet paribhasha, 'sthaya' or 'saptak' classification distinguishes which three registers?

  1. Vilambit, madhya, and drut
  2. Anibaddha, nibaddha, and rupaka
  3. Aroha, avaroha, and vakra
  4. Mandra, madhya, and taar Correct answer.

Explanation

The three registers are mandra (low), madhya (middle), and taar (high). They describe where in the pitch range a phrase or composition sits. The other options name tempo levels, melodic movement types, and composition categories respectively.

Question 8Technical Terminology of Indian Music (Sangeet Paribhasha)

The term 'laya' in Indian music most directly denotes:

  1. The tempo or speed of the rhythmic cycle Correct answer.
  2. The pitch register of a phrase
  3. The ornamental slide between notes
  4. The relative importance of a note in a raga

Explanation

Laya is the speed at which the tala moves, commonly described as vilambit, madhya, or drut. It is distinct from tala, which is the cycle itself. Register, note importance, and ornament are covered by saptak, vadi, and meend respectively.

Question 9Technical Terminology of Indian Music (Sangeet Paribhasha)

In a raga, the note that is most prominent and receives the greatest emphasis is called the:

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

Explanation

The vadi is the principal note of a raga and is emphasised most in its elaboration. The samvadi is the second most important note, usually a fourth or fifth from the vadi. Anuvadi notes are supporting consonances and vivadi notes are dissonant in that raga.

Question 10Technical Terminology of Indian Music (Sangeet Paribhasha)

A note that is dissonant or forbidden within a particular raga is termed:

  1. Vivadi Correct answer.
  2. Alpatva
  3. Anuvadi
  4. Nyasa

Explanation

Vivadi denotes a swara that clashes with the raga's character and is therefore excluded. Anuvadi is a supporting consonant note, nyasa is a resting note, and alpatva is the sparse use of a note. The four terms belong to different levels of raga analysis.

Question 11Technical Terminology of Indian Music (Sangeet Paribhasha)

The term 'alpatva' in raga analysis refers to:

  1. The heavy emphasis given to the vadi
  2. The complete omission of a note from a raga
  3. The descending movement of a raga
  4. The sparse or infrequent use of a note Correct answer.

Explanation

Alpatva means the reduced use of a swara, which may be touched briefly or skipped in certain phrases. Its counterpart is bahutva, the abundant use of a note. Complete omission is a different condition, and heavy emphasis belongs to the vadi.

Question 12Technical Terminology of Indian Music (Sangeet Paribhasha)

In Hindustani terminology, 'avaroha' or 'avarohi' refers to:

  1. The descending order of notes in a raga Correct answer.
  2. A raga that uses only five notes
  3. The ascending order of notes in a raga
  4. The fixed rhythmic cycle of a composition

Explanation

Avaroha is the descending scale of a raga, while aroha is the ascending scale. The two may differ, and some ragas are described as vakra when their order is not straight. Pentatonic ragas are called audav, and the rhythmic cycle is tala.

Question 13Technical Terminology of Indian Music (Sangeet Paribhasha)

A raga whose scale contains five notes in ascent and seven in descent is classified as:

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

Explanation

Jati terms count notes in ascent first and descent second, so audav-sampurna means five ascending and seven descending. Sampurna means seven, shadav means six, and audav means five. The order of the compound term follows aroha then avaroha.

Question 14Technical Terminology of Indian Music (Sangeet Paribhasha)

The term 'vakra' applied to a raga indicates that:

  1. The notes do not move in straight ascending or descending order Correct answer.
  2. The raga is performed only in the morning
  3. The raga uses all twelve semitones
  4. The raga omits its vadi note

Explanation

Vakra means crooked, and it describes a raga whose phrases zigzag rather than following a straight scale order. Such movement is common in ragas like Kafi and Bhimpalasi. It has nothing to do with the vadi, performance time, or chromatic completeness.

Question 15Technical Terminology of Indian Music (Sangeet Paribhasha)

In the Hindustani tala system, the first and most important beat of a cycle is called:

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

Explanation

Sam is the first beat of the cycle and the point of resolution where melodic and rhythmic phrases converge. Tali are the clapped beats marking sections, khali is the empty or waved beat, and vibhag are the divisions of the cycle. Sam carries the greatest structural weight.

Question 16Technical Terminology of Indian Music (Sangeet Paribhasha)

The term 'khali' in a tala performance indicates:

  1. The final beat of the rhythmic cycle
  2. A fast improvised passage in drut laya
  3. An unmarked beat shown by a wave of the hand Correct answer.
  4. A clapped beat that marks a section

Explanation

Khali literally means empty, and it marks a section of the cycle shown by a silent wave rather than a clap. It contrasts with tali, the clapped beats. Khali helps performers and listeners track their position within longer cycles.

Question 17Technical Terminology of Indian Music (Sangeet Paribhasha)

A tala of seven beats, divided as three plus two plus two, is known as:

  1. Rupak
  2. Ektaal
  3. Teentaal
  4. Jhaptal Correct answer.

Explanation

Jhaptal has seven matras grouped 3+2+2, with khali on the third vibhag. Rupak also has seven matras but is grouped 3+2+2 with a different khali placement and a khali sam. Ektaal has twelve matras and teentaal has sixteen.

Question 18Technical Terminology of Indian Music (Sangeet Paribhasha)

The term 'matra' in tala terminology denotes:

  1. The tempo of the composition
  2. The first beat of the cycle
  3. A single beat or unit of the rhythmic cycle Correct answer.
  4. The ornamented entry of the singer

Explanation

Matra is the basic counting unit of a tala, so a sixteen-matra tala has sixteen beats per cycle. Sam is the first matra, laya is tempo, and the ornamental entry is a melodic device. Matra is the building block from which vibhag and avartan are formed.

Question 19Technical Terminology of Indian Music (Sangeet Paribhasha)

The complete cycle of a tala, returning to its starting point, is called:

  1. Theka
  2. Avartan Correct answer.
  3. Vibhag
  4. Laya

Explanation

Avartan is one full round of the tala from sam back to sam. Vibhag is a subdivision within the cycle, laya is tempo, and theka is the standard drum pattern that expresses the tala. Avartan is the unit of repetition in performance.

Question 20Technical Terminology of Indian Music (Sangeet Paribhasha)

In tabla terminology, the standard set of bols that identifies and expresses a tala is known as its:

  1. Theka Correct answer.
  2. Palta
  3. Tihai
  4. Kayada

Explanation

Theka is the conventional bol pattern played on the tabla that defines a tala and is used for accompaniment. Kayada is a structured thematic composition, palta is a permutation exercise, and tihai is a thrice-repeated cadence. Theka is the identifying pattern rather than an improvisation.

Question 21Technical Terminology of Indian Music (Sangeet Paribhasha)

A 'tihai' is best described as:

  1. A phrase repeated three times so that it resolves on sam Correct answer.
  2. A single stroke on the tabla
  3. A composition set in drut laya
  4. A slow introductory alap in a raga

Explanation

Tihai means threefold: a phrase is played three times with the final note landing on sam. It is a common cadential device in both vocal and instrumental music. It is not an alap, a single stroke, or merely a fast composition.

Question 22Technical Terminology of Indian Music (Sangeet Paribhasha)

The term 'meend' in vocal and instrumental technique refers to:

  1. A pause on the vadi note
  2. A smooth glide from one note to another Correct answer.
  3. A rapid repetition of a single note
  4. A sharp rhythmic accent on sam

Explanation

Meend is a continuous glide that connects two notes without a break, and it is central to the character of many ragas. It differs from gamak, which involves oscillation, and from a simple pause. Meend is melodic rather than rhythmic in function.

Question 23Technical Terminology of Indian Music (Sangeet Paribhasha)

In Hindustani music, 'gamak' denotes:

  1. The unmetered opening section of a raga
  2. An oscillating or heavy ornamental movement on a note Correct answer.
  3. The fixed tonic of the performance
  4. The first beat of the rhythmic cycle

Explanation

Gamak is an ornament in which a note is sounded with weight and oscillation, often connecting neighbouring notes. It gives many ragas their characteristic force and is common in dhrupad and in instruments like the rudra veena. Alap, sam, and sa are different concepts entirely.

Question 24Technical Terminology of Indian Music (Sangeet Paribhasha)

A raga in which the ascending and descending scales are identical, with no omitted or altered notes between them, is described as:

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

Explanation

Sampurna means complete, with all seven notes present, and when ascent and descent match the raga is straightforward in scale. Vakra describes crooked movement, while shadav and audav denote six- and five-note scales. Sampurna therefore refers to completeness rather than to crookedness.

Question 25Technical Terminology of Indian Music (Sangeet Paribhasha)

In the classification of compositions, 'nibaddha' and 'anibaddha' distinguish:

  1. Fixed, metrically bound compositions from free, unmetred ones Correct answer.
  2. Morning ragas from evening ragas
  3. Ascending scales from descending scales
  4. Vocal music from instrumental music

Explanation

Nibaddha means bound, referring to compositions fixed to a tala such as a khayal or dhrupad. Anibaddha means unbound, covering free forms like alap and the opening of a raga. The pair concerns metric structure rather than time of day, medium, or direction.

Question 26Technical Terminology of Indian Music (Sangeet Paribhasha)

In the technical vocabulary of Indian music, the term 'naad' refers to which concept?

  1. The ornamental slide connecting two successive notes of a raga
  2. Sound as such, the raw acoustic material before it becomes organised musical tone Correct answer.
  3. The poetic text line set to music in a composed bandish
  4. The rhythmic cycle maintained by the percussionist during a performance

Explanation

Naad denotes sound itself, the acoustic substance from which musical tone is drawn; texts further distinguish anahat naad (unstruck, unheard sound) from ahat naad (struck sound produced by effort). It is thus a foundational term of sangeet paribhasha, logically prior to swara, raga and tala, and it does not denote rhythm, ornament or lyric.

Question 27Technical Terminology of Indian Music (Sangeet Paribhasha)

When a performer says a raga has been sung in 'shuddha swara', what is being specified about the notes used?

  1. The notes are rendered only in the upper register above taar sa
  2. The notes are all omitted from the descent of the raga
  3. The notes are taken in their natural, unaltered positions within the saptak Correct answer.
  4. The notes are held without any oscillation or ornamentation

Explanation

Shuddha swara means the natural or unaltered form of a note, as opposed to the vikrit forms (komal and tivra). Saying a raga uses shuddha swara therefore describes the pitch positions of its notes within the saptak, not their register, their treatment, or the shape of its descent.

Question 28Technical Terminology of Indian Music (Sangeet Paribhasha)

A musician describes a phrase as moving from a komal note up to the tivra form of the same scale degree. Which pair of vikrit swaras is being used?

  1. Komal Re rising to tivra Ma Correct answer.
  2. Komal Dha rising to tivra Re
  3. Komal Ni rising to tivra Ga
  4. Komal Ga rising to tivra Ni

Explanation

Only two scale degrees take vikrit forms in the Hindustani system: Ma, which can be tivra, and Re, Ga, Dha, Ni, which can be komal. A phrase joining a komal note to a tivra note must therefore use komal Re, Ga, Dha or Ni together with tivra Ma, and only the option naming komal Re and tivra Ma fits that rule.

Question 29Technical Terminology of Indian Music (Sangeet Paribhasha)

In describing the ambitus of a raga, a performer states that its purvanga lies between Sa and Ma. What does purvanga denote?

  1. The lower tetrachord of the saptak, covering Sa through Ma Correct answer.
  2. The set of notes used only in the descending phrase
  3. The drone notes sounded continuously by the tanpura
  4. The upper tetrachord of the saptak, covering Pa through Sa

Explanation

The saptak is divided into two tetrachords: purvanga, the lower half from Sa to Ma, and uttaranga, the upper half from Pa to the upper Sa. Naming purvanga therefore fixes the region of the scale under discussion, and it is a positional division rather than a description of descent or of the drone.

Question 30Technical Terminology of Indian Music (Sangeet Paribhasha)

A composer sets a dhrupad composition so that the words of the sthai are fitted to the tala in a way that places syllables against the matras without disturbing the cyclic symmetry, and then adds a second section in a related but distinct melodic region. Which pairing of terms correctly labels the two sections and their relationship to the tala?

  1. Palta as the first section and tihai as the second, the latter closing the cycle thrice
  2. Sthai as the first section and antara as the second, both performed as anibaddha alap
  3. Gat as the first section and jhala as the second, the latter free of tala
  4. Sthai as the first section and antara as the second, both bound to the tala in nibaddha form Correct answer.

Explanation

In a nibaddha composition the sthai opens the piece in the lower and middle region, and the antara follows in the upper region, both being measured against the tala. The term nibaddha itself marks music bound to metre, which is why the sections are tied to matras rather than free.

Question 31Raga and Tala Theory

In the Hindustani tala system, how many matras (beats) does Jhaptal contain in one complete avartan?

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

Explanation

Jhaptal is a ten-matra tala arranged in four vibhags of 2+3+2+3. Its talis fall on matras 1, 3, 8 and 10, with the khali on matra 6. This asymmetrical structure distinguishes it from the more symmetrical Sultal and Tivra.

Question 32Raga and Tala Theory

Which swara is traditionally regarded as the vadi (sonant) of Raga Yaman?

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

Explanation

Yaman is an evening raga of the Kalyan thaat, and its vadi is teevra Madhyam in some schools but Gandhar in the widely taught convention. Gandhar is given prominence through the characteristic aroha phrases beginning Ni-Re-Ga. The samvadi is usually Nishad.

Question 33Raga and Tala Theory

A tala in which the vibhags are divided 4+2+4 and whose khali falls on the third vibhag is best identified as which of the following?

  1. Adachautal Correct answer.
  2. Ektaal
  3. Jhaptal
  4. Tilwada

Explanation

Adachautal has fourteen matras grouped 4+2+4+4, with khali on the third vibhag beginning at matra 7. Its talis fall on 1, 5, 11 and 14. The pattern is associated with the Dhrupad repertoire.

Question 34Raga and Tala Theory

In the notation of Hindustani tala, the symbol '0' placed above a matra indicates which feature?

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

Explanation

Khali marks a vibhag that is left unstressed and is shown by the symbol 0 or by a wave of the hand. It contrasts with tali, which is marked by a clap and carries the felt pulse of the cycle. Sam is separately marked with the symbol x.

Question 35Raga and Tala Theory

Which pair of thatas is correctly matched with the swaras that distinguish them from Bilawal?

  1. Bhairav with teevra Madhyam and komal Dhaivat
  2. Purvi with komal Gandhar and komal Nishad
  3. Marwa with komal Rishabh and komal Dhaivat
  4. Kafi with komal Gandhar and komal Nishad Correct answer.

Explanation

Kafi thaat differs from the natural Bilawal scale by lowering Gandhar and Nishad, giving komal Ga and komal Ni. Bhairav instead lowers Rishabh and Dhaivat. Marwa lowers Rishabh and raises Madhyam. Purvi lowers Rishabh and Dhaivat while raising Madhyam.

Question 36Raga and Tala Theory

How many matras does Ektaal contain, and how are its vibhags arranged?

  1. Twelve matras in 4+4+4 Correct answer.
  2. Ten matras in 2+3+2+3
  3. Fourteen matras in 2+2+2+2+2+2+2
  4. Sixteen matras in 4+4+4+4

Explanation

Ektaal is a twelve-matra tala divided into three equal vibhags of four matras each. Talis occur on matras 1, 5, 9 and 11, with khali on the third vibhag at matra 9. It is widely used in both Khayal and Dhrupad performance.

Question 37Raga and Tala Theory

A performer wishes to use a raga that omits Pancham entirely and uses both Madhyams. Which raga fits this description?

  1. Bhairav
  2. Kafi
  3. Poorvi Correct answer.
  4. Yaman

Explanation

Poorvi is a twilight raga of the Poorvi thaat that uses komal Rishabh, teevra Madhyam and komal Dhaivat. Pancham is varjit, meaning it is not employed at all, and both shuddha and teevra Madhyam appear. This gives the raga its characteristic gravitas.

Question 38Raga and Tala Theory

Which jati (classification by number of matras) applies to a tala of fourteen beats?

  1. Tishra
  2. Mishra
  3. Khanda
  4. Chaturashra Correct answer.

Explanation

Jati in tala theory classifies cycles by beat count, and fourteen falls in the chaturashra group in the traditional scheme used for Dhrupad talas. Khanda denotes five or multiples such as ten, tishra denotes three or six, and mishra denotes seven or fourteen in some systems. In the standard Odisha and Hindustani teaching convention, fourteen is treated as chaturashra.

Question 39Raga and Tala Theory

In Raga Bhairav, which two swaras are komal?

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

Explanation

Bhairav belongs to the Bhairav thaat, in which Rishabh and Dhaivat are lowered while all other notes remain shuddha. The komal Re and komal Dha with a slow oscillating treatment give the raga its morning character. The vadi is Dhaivat and the samvadi is Rishabh.

Question 40Raga and Tala Theory

Which statement correctly distinguishes antara from sthayi in the structure of a Khayal composition?

  1. Antara is the percussion accompaniment while sthayi is the melodic line
  2. Antara omits the sam while sthayi always begins on sam
  3. Antara is always set in a faster tempo than sthayi
  4. Antara explores the upper register while sthayi remains in the lower and middle register Correct answer.

Explanation

In a Khayal bandish, the sthayi establishes the raga in the mandra and madhya saptak and usually touches sam. The antara then extends the melodic range into the tar saptak. The two sections together frame the composition before improvisation begins.

Question 41Raga and Tala Theory

A student counts a tala as 1-2-3-4, 1-2, 1-2-3-4, 1-2. Which tala is being demonstrated?

  1. Teentaal
  2. Rupak
  3. Jhaptal
  4. Sultal Correct answer.

Explanation

Sultal is a ten-matra tala arranged in four vibhags of 4+2+4+2, which matches the counting pattern given. Its talis fall on matras 1, 5, 7 and 9 in the common notation. The unequal vibhags produce a distinctive swing.

Question 42Raga and Tala Theory

Which of the following best describes the role of sam in tala performance?

  1. It is the fastest laya used in a composition
  2. It is the first matra of the cycle and the point of greatest structural weight Correct answer.
  3. It is the final matra of the avartan where the cycle closes
  4. It is the beat on which the khali vibhag begins

Explanation

Sam is the first beat of the avartan and carries the heaviest accent in the cycle. Performers aim to arrive at sam together at the end of improvisational passages, and compositions are designed to resolve there. It is marked in notation with the symbol x.

Question 43Raga and Tala Theory

Which raga is associated with the Khamaj thaat and uses both shuddha and komal Nishad?

  1. Desh
  2. Kalavati
  3. Khamaj Correct answer.
  4. Bilawal

Explanation

Raga Khamaj gives its name to the thaat and characteristically employs shuddha Nishad in the ascent and komal Nishad in the descent. This dual treatment of the same scale degree is the raga's identifying feature. It is an evening raga often performed in light-classical and thumri settings.

Question 44Raga and Tala Theory

In a tala of sixteen matras with talis on 1, 5, 13 and khali on 9, which tala is described?

  1. Teentaal Correct answer.
  2. Jhoomra
  3. Dhamar
  4. Tilwada

Explanation

Teentaal has sixteen matras in four vibhags of four, with talis on 1, 5 and 13 and khali on the third vibhag at matra 9. This is the most widely used tala in Khayal performance. The pattern of claps and the wave is 1, 2, 0, 3.

Question 45Raga and Tala Theory

Which swara is varjit in Raga Marwa?

  1. Rishabh
  2. Pancham Correct answer.
  3. Madhyam
  4. Nishad

Explanation

Marwa is a sunset raga of the Marwa thaat that omits Pancham entirely. It uses komal Rishabh and teevra Madhyam, and its vadi is Rishabh with samvadi Dhaivat. The absence of Pancham creates its characteristic unsettled, searching quality.

Question 46Raga and Tala Theory

Which of the following correctly pairs a tala with its traditional theka bol pattern for the first vibhag?

  1. Teentaal with Dha Dhin Dhin Dha Correct answer.
  2. Dadra with Dha Dhin Na
  3. Rupak with Dha Dhin Dhin
  4. Jhaptal with Dha Dhin Na Na

Explanation

Teentaal's theka begins with Dha Dhin Dhin Dha, followed by Dha Dhin Dhin Dha, then Dha Tin Tin Ta, then Ta Dhin Dhin Dha. This bol pattern is standard across gharana traditions. Recognising theka bols is essential for accompanying and for identifying talas aurally.

Question 47Raga and Tala Theory

Which characteristic phrase best identifies Raga Bhairavi in performance?

  1. Komal Gandhar and komal Nishad with shuddha Rishabh
  2. Komal Rishabh, komal Gandhar, komal Dhaivat and komal Nishad in a devotional, concluding style Correct answer.
  3. Teevra Madhyam with shuddha Nishad in the ascent
  4. Komal Rishabh and komal Dhaivat with shuddha Madhyam

Explanation

Bhairavi uses komal Rishabh, komal Gandhar, komal Dhaivat and komal Nishad, with shuddha Madhyam and Pancham. All four komal swaras give it a plaintive quality, and it is traditionally performed at the close of a concert. Its vadi is usually Madhyam.

Question 48Raga and Tala Theory

Which laya term describes a tempo that is exactly double the base tempo in the same tala cycle?

  1. Dugun Correct answer.
  2. Adi laya
  3. Tigun
  4. Chaugun

Explanation

Dugun means the performer articulates two units for every one unit of the base laya, effectively doubling the speed while the tala cycle remains constant. Tigun and Chaugun correspond to triple and quadruple subdivisions respectively. These laya divisions are used in vistaar and in tihai construction.

Question 49Raga and Tala Theory

A composer writes a tihai in which a phrase is repeated three times and the final note lands on sam. If each repetition lasts four matras, on which matra does the tihai begin?

  1. Matra 9 of the preceding cycle
  2. Matra 13 of the preceding cycle
  3. Matra 1 of the preceding cycle
  4. Matra 5 of the preceding cycle Correct answer.

Explanation

Three repetitions of four matras occupy twelve matras, and the final matra must fall on sam. Working backwards from sam, the tihai begins twelve matras before sam, which is matra 5 of the preceding sixteen-matra cycle. This calculation is standard in composing tihais.

Question 50Raga and Tala Theory

Which of the following ragas is a sandhi-prakash raga associated with the junction of late afternoon and evening?

  1. Sandhi Prakash occurs in Marwa and Poorvi at sunset Correct answer.
  2. Malkauns is performed at dawn
  3. Bhairav is performed at midnight
  4. Todi is performed at midday

Explanation

Sandhi-prakash ragas are performed at the junctions of day and night, and Marwa and Poorvi are the classic sunset examples. Their unstable, Pancham-less or komal-laden phrases reflect the transitional hour. Bhairav and Malkauns belong to the other junctions, at dawn and midnight respectively.