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Odisha CHSE +2 Vocational Flute / Violin / Sitar study materials
Odisha CHSE +2 Vocational Flute / Violin / Sitar study resources

Odisha CHSE +2 Vocational Flute / Violin / Sitar practice questions

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Question 1Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

In Hindustani music, the term 'nada' refers to which basic phenomenon?

  1. Any audible sound, whether musical or not Correct answer.
  2. Organised sound produced by regular vibration
  3. The written notation of a composition
  4. The rhythmic cycle of a tabla

Explanation

Nada is the general Sanskrit term for sound itself, the raw acoustic material from which music is shaped. Musical nada (anahata/sahaja in philosophical usage) is distinguished from mere noise, but the word in its basic sense covers all audible sound.

Question 2Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

'Shruti' in Hindustani music theory most commonly denotes which of the following?

  1. The tempo of a composition
  2. The smallest perceivable interval of pitch Correct answer.
  3. A rhythmic subdivision of the tala
  4. A decorative ornament applied to a note

Explanation

Shruti is classically described as the smallest interval of pitch that the ear can distinguish, and the twenty-two shrutis are treated as the microtonal material from which the seven shuddha and five vikrit swaras are selected. It is a pitch concept, not a rhythmic or ornamental one.

Question 3Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

How many swaras are there in the standard saptak of Hindustani music before the vikrit (altered) forms are counted?

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

Explanation

The saptak is built on seven shuddha swaras: Sa, Re, Ga, Ma, Pa, Dha, Ni. The twelve-semitone version arises only when the five vikrit forms (komal Re, Ga, Dha, Ni and tivra Ma) are added.

Question 4Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which swara is described as 'achala' because it has no komal or tivra form?

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

Explanation

Sa and Pa are fixed swaras that are never altered; Sa in particular is called achala, the immovable tonic. All other swaras have at least one vikrit form.

Question 5Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

In sargam notation, the syllable 'Pa' stands for which swara of the saptak?

  1. The fourth degree
  2. The fifth degree Correct answer.
  3. The sixth degree
  4. The seventh degree

Explanation

The syllables Sa Re Ga Ma Pa Dha Ni correspond in order to the first through seventh degrees, so Pa is the fifth. It is a fixed swara with no vikrit form.

Question 6Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A vocalist sings the same raga first in mandra saptak and then in tar saptak. What has changed?

  1. The raga and its notes
  2. The number of shrutis
  3. The octave register of the notes Correct answer.
  4. The tala cycle

Explanation

Saptak refers to register: mandra is the lower octave, madhya the middle and tar the upper. Moving between them changes the octave in which the same swaras are sounded, not the raga or its rhythmic framework.

Question 7Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which pair of swaras is komal in the Bilawal (shuddha) thaat?

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

Explanation

Bilawal is the all-shuddha thaat, so no swara is komal in it. The question as posed tests whether the candidate knows that komal Re and komal Dha belong to Kafi, not Bilawal; in Bilawal both are shuddha.

Question 8Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

How is tivra Ma written in standard Hindustani sargam notation?

  1. Ma with a dot below
  2. Ma followed by a komal sign
  3. Ma in bold capitals
  4. Ma with a line above Correct answer.

Explanation

Tivra Ma is conventionally shown as Ma with a horizontal line above it, while komal swaras take a line or stroke below. The position of the mark distinguishes the raised fourth from the lowered notes.

Question 9Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A raga uses shuddha Re, komal Ga, shuddha Ma, Pa, komal Dha and shuddha Ni. Which thaat does this set of swaras most closely match?

  1. Bhairav
  2. Kafi
  3. Bhairavi
  4. Asavari Correct answer.

Explanation

Asavari thaat takes komal Ga, komal Dha and komal Ni with all other swaras shuddha, which matches the set given. Bhairavi would additionally lower Re and Ma, and Kafi lowers Re and Ga only.

Question 10Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

What does the term 'varja swara' describe in the analysis of a raga?

  1. A note used only in the ascending line
  2. A note that is omitted from the raga Correct answer.
  3. A note held for several beats
  4. A note borrowed from another thaat

Explanation

Varja means omitted: a varja swara is one deliberately left out of a raga's melodic material. This is why some ragas use fewer than seven notes, giving audava (five) or shadava (six) scales.

Question 11Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

In sargam notation, a dot placed below a swara letter indicates what?

  1. The note is to be played staccato
  2. The note is komal
  3. The note is the sam of the tala
  4. The note belongs to the mandra saptak Correct answer.

Explanation

Octave marks are placed around the syllable: a dot below shows the lower (mandra) register and a dot above the upper (tar) register. Komal is shown by a separate stroke or line, not by an octave dot.

Question 12Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which statement correctly distinguishes nada from noise in Hindustani thought?

  1. Nada is regular vibration giving a definite pitch, while noise is irregular vibration Correct answer.
  2. Nada is produced only by stringed instruments
  3. Nada refers to written music, while noise refers to sung music
  4. Nada is any sound, while noise is only loud sound

Explanation

The classical distinction rests on regularity of vibration: periodic vibration yields a definite pitch and is treated as musical nada, while irregular vibration gives noise. Loudness and instrument type are not the criterion.

Question 13Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A student writes the aroha of a raga as S R G M P D N S. What does this notation represent?

  1. The komal notes of the raga
  2. The ascending line of the raga Correct answer.
  3. The descending line of the raga
  4. The talas used in the raga

Explanation

Aroha (or arohi) is the ascending order of a raga's swaras, while avaroha is the descending order. The string given moves upward from Sa to the upper Sa, so it is an aroha.

Question 14Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which swara is called 'vadi' in a raga?

  1. The note that ends the alap
  2. The most prominent and frequently emphasised note Correct answer.
  3. The note used to begin the composition
  4. The note shared with the parallel thaat

Explanation

The vadi is the king note of a raga, the swara given greatest emphasis and around which the melodic development revolves. Samvadi is the second in importance, and anuvadi are the remaining supporting notes.

Question 15Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

The twenty-two shrutis are traditionally grouped into how many principal swaras in the Hindustani saptak?

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

Explanation

The shruti pool is the raw microtonal material, and the saptak selects seven principal swaras from it. The twelve-note chromatic set appears only when vikrit forms are counted alongside the shuddha seven.

Question 16Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A notation shows 'S R G M^ P D N S' where the caret marks a raised fourth. Which swara is indicated?

  1. Komal Ma
  2. Tivra Ma Correct answer.
  3. Komal Ga
  4. Shuddha Ma

Explanation

A raised fourth degree is tivra Ma, the only vikrit form of Ma. Shuddha Ma is the natural fourth, and Ma has no komal form, so the raised sign must mean tivra.

Question 17Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which of these best explains why a raga may be described as 'audava-shadava'?

  1. It uses five notes ascending and six descending Correct answer.
  2. It uses six notes ascending and five descending
  3. It uses only five notes in both directions
  4. It uses all seven notes in both directions

Explanation

The pair of terms gives the ascent first and the descent second, so audava-shadava means five notes in aroha and six in avaroha. Sampurna means all seven, and shadava means six.

Question 18Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

In sargam, how is a komal swara normally marked in written notation?

  1. A dot above the syllable
  2. A circle around the syllable
  3. A double letter
  4. A small stroke or line below the syllable Correct answer.

Explanation

Komal swaras are written with a small stroke or horizontal line below the syllable, while a dot above indicates the tar octave. The mark's position and form distinguish komal from octave markings.

Question 19Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A performer treats Sa as the tonic and sings a scale containing komal Re, komal Ga, shuddha Ma, Pa, komal Dha and komal Ni. Which thaat is this?

  1. Bhairavi Correct answer.
  2. Bhairav
  3. Kafi
  4. Todi

Explanation

Bhairavi thaat lowers Re, Ga, Dha and Ni while keeping Ma and Pa shuddha, exactly matching the set described. It is the most komal-heavy of the common thaats.

Question 20Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which statement about the relationship between shruti and swara is most accurate?

  1. A swara is a selected pitch position drawn from the shruti continuum and may carry a characteristic shade Correct answer.
  2. Shrutis exist only in the tar saptak
  3. Each swara is a single shruti with no internal character
  4. Shruti and swara are identical terms used interchangeably

Explanation

Shrutis form the fine pitch continuum, and swaras are the named positions chosen from it; performers may inflect a swara to suggest a particular shruti shade. The two terms are therefore related but not interchangeable.

Question 21Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A raga's aroha is S G M P N S and its avaroha is S N D P M G R S. What does this pattern tell us about its scale?

  1. It is audava in both directions
  2. It is sampurna in ascent and audava in descent
  3. It is audava in ascent and sampurna in descent Correct answer.
  4. It is shadava in both directions

Explanation

The ascent uses five notes (Sa, Ga, Ma, Pa, Ni) and the descent uses all seven, so the raga is audava in aroha and sampurna in avaroha. This asymmetric pattern is common and is central to identifying such ragas.

Question 22Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

In standard notation, what is the effect of placing a dot above the syllable 'Ga'?

  1. The note becomes komal Ga
  2. The note is lengthened by one matra
  3. The note is played in the tar saptak Correct answer.
  4. The note becomes tivra Ga

Explanation

A dot above a swara syllable places that note in the upper (tar) octave relative to the tonic. Komal is shown by a stroke below, and duration is shown by spacing or tala marks, not by an octave dot.

Question 23Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which observation best supports the claim that a given raga belongs to the Kafi thaat rather than the Bilawal thaat?

  1. Its vadi is Pa
  2. It is sung in the evening
  3. Its compositions use teentaal
  4. Its aroha contains komal Ga and komal Ni Correct answer.

Explanation

Thaat membership is decided by the scale, specifically which swaras are komal or tivra. Kafi is distinguished from Bilawal by komal Ga and komal Ni, so finding those altered notes in the scale is the decisive evidence.

Question 24Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

Which description of 'anahata nada' is consistent with classical Hindustani theory?

  1. Unstruck or internally perceived sound not caused by external impact Correct answer.
  2. Sound produced only by the human voice
  3. Sound produced by striking two objects together
  4. The sound of a tanpura's drone

Explanation

Anahata literally means unstruck and refers to sound not produced by the impact of two objects, understood as internal or cosmic sound. Ahata nada, by contrast, is struck sound produced by external contact.

Question 25Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A candidate counts the swaras of a raga and finds Sa, Re, Ga, Ma, Pa, Dha and Ni all present with komal Ga and komal Ni. Which thaat is indicated?

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

Explanation

Kafi thaat has komal Ga and komal Ni with all other swaras shuddha, which matches the set described. Khamaj would lower Ni but keep Ga shuddha, and Asavari would also lower Dha.

Question 26Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

In Hindustani music theory, what does the term 'nada' refer to at its most basic level?

  1. The written symbol used to record a swara
  2. Only the musical sound produced by a stringed instrument
  3. The silence between two struck notes
  4. Sound itself, produced by vibration and perceived by the ear Correct answer.

Explanation

Nada is the fundamental category of sound in Hindustani thought: any audible vibration that reaches the ear. Theory then distinguishes musical nada (nada brahma, sustained and pleasing) from unmusical noise. It is not restricted to one instrument family, nor is it silence or a written sign.

Question 27Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A Hindustani musician explains that the seven swaras of the saptak are selected from a finer division of the octave. According to traditional theory, how many shrutis are recognised in the octave?

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

Explanation

Classical Hindustani theory divides the saptak into twenty-two shrutis, the microtonal units from which the seven shuddha swaras and their vikrit forms are drawn. Twelve is the number of chromatic semitones in the tempered system, not the shruti count. The shrutis are finer than the swaras, so there are more of them than seven.

Question 28Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A notation exercise gives the aroha of a raga as: S R G M P D n S. What does the lowercase 'n' indicate here?

  1. A Ni sung only in the avaroha
  2. A Ni taken in the mandra saptak
  3. A komal Ni, placed a semitone below shuddha Ni Correct answer.
  4. A tivra Ni, placed a semitone above shuddha Ni

Explanation

In standard sargam notation, lowercase letters mark komal swaras, so 'n' stands for komal Ni, the flattened seventh degree. Tivra is marked with a raised sign or capital with an accent, not by lowercasing. Octave register is shown by dots above or below the letter, not by case.

Question 29Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A candidate is told that a raga's scale uses shuddha Re, komal Ga, shuddha Ma, Pa, komal Dha and shuddha Ni, with Sa as tonic. Which statement about this scale is correct?

  1. It matches the Bhairavi thaat, because Bhairavi has komal Re, Ga, Dha and Ni
  2. It matches the Khamaj thaat, because Khamaj has komal Ni only
  3. It matches the Kafi thaat, because Kafi has komal Ga and komal Ni
  4. It matches the Asavari thaat, because Asavari has komal Ga, Dha and Ni Correct answer.

Explanation

Asavari thaat is defined by komal Ga, komal Dha and komal Ni with the remaining swaras shuddha, which is exactly the set described. The presence of shuddha Re and shuddha Ni rules out Bhairavi, and shuddha Ma rules out Kafi, whose Ni is komal. Khamaj keeps Ga and Dha shuddha, so it does not apply.

Question 30Fundamentals of Hindustani music: nada, swara, shruti, saptak, and standard notation

A student writes the aroha of a raga as S G M P N S and the avaroha as S N D P M G R S. Which conclusion about the raga's scale is best supported?

  1. The raga is sampurna in both aroha and avaroha
  2. The raga is audava in aroha and shadava in avaroha Correct answer.
  3. The raga is shadava in both aroha and avaroha
  4. The raga is sampurna in aroha and audava in avaroha

Explanation

Counting the swaras used in each direction gives the classification: the aroha S G M P N S has five swaras, which is audava, and the avaroha S N D P M G R S has six, which is shadava. Sampurna requires all seven, and the two directions here are not identical in count. Such asymmetric scales are common and are described direction by direction.

Question 31Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

In Hindustani music, what does the term aroha refer to?

  1. The characteristic phrase that identifies a raga
  2. The descending order of swaras in a raga
  3. The ascending order of swaras in a raga Correct answer.
  4. The most important note of a raga

Explanation

Aroha means the ascending movement of a raga, showing which swaras are taken when the melody rises from the lower notes to the higher notes. It is usually written first when a raga is described, followed by the avaroha. Together the two outline the melodic shape of the raga.

Question 32Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Which term describes the descending order of swaras in a raga?

  1. Pakad
  2. Avaroha Correct answer.
  3. Vadi
  4. Samvadi

Explanation

Avaroha is the descending sequence of notes in a raga, moving from higher swaras to lower ones. It is written after the aroha in a raga description and can differ from the aroha in which notes are included. Some ragas are described as vakr or crooked because their avaroha skips or bends certain notes.

Question 33Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

A raga whose aroha and avaroha use the same set of swaras in the same order is best described by which term?

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

Explanation

Sampurna means all seven swaras are present in the raga, and when the aroha and avaroha both take the same seven notes in straight order the raga is described as sampurna-sampurna. Vakra, by contrast, refers to a crooked or zigzag order. Shadav and audav refer to six and five notes respectively.

Question 34Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

What is the pakad of a raga?

  1. The time of day prescribed for its performance
  2. The ornament used only in the antara section
  3. The short phrase that reveals its identity Correct answer.
  4. The second most important note in the scale

Explanation

The pakad is a brief, characteristic phrase that captures the essential movement of a raga and allows listeners to recognise it even when the performer is improvising. It often includes the vadi and samvadi and shows the typical approach to important notes. A musician who knows the pakad can identify the raga quickly.

Question 35Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

In a raga, the vadi is best understood as which of the following?

  1. The note that receives the greatest emphasis Correct answer.
  2. The note that is never used in the raga
  3. The note that begins every aroha
  4. The note that is played only on the tabla

Explanation

The vadi is the chief or king note of a raga, the swara that is given the most emphasis and around which the melodic development revolves. Performers often linger on the vadi and return to it to establish the raga's character. Its partner, the samvadi, is the second most important note.

Question 36Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

The samvadi of a raga is which note?

  1. The note second in importance to the vadi Correct answer.
  2. The note that is the highest in the scale
  3. The note that is used only in the alap
  4. The note that is omitted from the aroha

Explanation

Samvadi means the companion note, the swara that ranks second in importance after the vadi. It supports the vadi and helps to define the raga's melodic personality. In many ragas the vadi and samvadi are separated by a consonant interval such as a fourth or a fifth.

Question 37Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

In which time of day is Raga Bhairav traditionally performed?

  1. Midnight
  2. Late afternoon
  3. Early morning Correct answer.
  4. Late evening

Explanation

Bhairav is a morning raga, traditionally performed in the early hours just after sunrise. It uses komal re and komal dha and has a grave, devotional character. Its evening counterpart is often given as Bhairavi, which shares the same scale but has a different mood.

Question 38Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Which raga is traditionally associated with the late evening and uses teevra ma?

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

Explanation

Yaman is a late-evening raga that uses teevra ma instead of shuddha ma, giving it its distinctive colour. Its aroha includes ga and ni in the ascending line and its pakad features the phrase ni-re-ga-re-sa. It is one of the first ragas taught to beginners, yet its time is firmly evening.

Question 39Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

The rasa most commonly associated with the grave morning raga Bhairav is which of the following?

  1. Veer
  2. Shringar
  3. Karuna and Bhakti Correct answer.
  4. Hasya

Explanation

Bhairav's slow, weighty movement and its use of komal re and komal dha give it a mood of pathos and devotion, so it is commonly linked with karuna and bhakti rasa. The raga is often performed in temples and in the early morning hours. Shringar and veer are more typical of other ragas and times.

Question 40Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

A student plays a raga in which the aroha omits re and dha and the avaroha also omits them, and the notes used are sa, ga, ma, pa and ni. Which raga is this?

  1. Kafi
  2. Malkauns
  3. Bhoopali Correct answer.
  4. Durga

Explanation

Bhoopali is an audav (five-note) raga that uses sa, re, ga, pa and dha, so it omits ma and ni rather than re and dha. The student's description in the stem matches the audav scale of sa, ga, ma, pa and ni, which belongs to Malkauns. Careful reading of which notes are omitted is what identifies the raga.

Question 41Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Which of these ragas is an audav raga that omits ma and ni?

  1. Bageshri
  2. Yaman
  3. Bhoopali Correct answer.
  4. Bhairav

Explanation

Bhoopali is a five-note raga using sa, re, ga, pa and dha, so both ma and ni are absent from its aroha and avaroha. It is a sampurna raga in neither direction. The other options are all sampurna ragas that include seven notes.

Question 42Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

In Raga Khamaj, which swara is typically taken in the avaroha but not in the aroha, giving the raga its characteristic shape?

  1. Komal ga
  2. Shuddha ni
  3. Komal ni Correct answer.
  4. Teevra ma

Explanation

Khamaj uses shuddha ni in the aroha but komal ni in the avaroha, and this asymmetry is central to its identity. The komal ni appears in descending phrases such as ga-ma-pa-dha-ma-ga-re-sa-ni(komal)-sa. Such differences between ascending and descending lines are common in Hindustani ragas.

Question 43Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Which statement about the samay of a raga is correct?

  1. Samay is the tempo of the composition
  2. Samay is the traditional time of day for performance Correct answer.
  3. Samay is the number of notes in the raga
  4. Samay is the ornament used on the vadi note

Explanation

Samay refers to the traditional time of day or night prescribed for a raga's performance. Ragas are grouped into prahar, periods of roughly three hours, and performers generally follow these conventions in classical concerts. The system links each raga's mood to the changing light and atmosphere of the day.

Question 44Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Raga Malkauns is traditionally performed at which time?

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

Explanation

Malkauns is a late-night raga, usually placed in the third prahar of the night. It is an audav raga using sa, ga, ma, dha and ni, with komal ga, komal dha and komal ni. Its slow, grave character suits the stillness of the late night hours.

Question 45Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Which pair correctly matches a raga with the time of day traditionally assigned to it?

  1. Yaman with early morning
  2. Todi with late night
  3. Bhairavi with early morning
  4. Marwa with late afternoon Correct answer.

Explanation

Marwa is traditionally performed in the late afternoon, just before sunset. It uses komal re and teevra ma and omits pa, giving it a restless, unsettled mood. The other pairs in the options reverse or misplace the customary times.

Question 46Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

The pakad of Raga Yaman typically includes which characteristic phrase?

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

Explanation

Yaman's pakad commonly moves through ni, re and ga before returning to sa, often written as ni-re-ga-re-sa with teevra ma appearing in the wider phrases. This phrase captures the raga's characteristic use of the upper ni and its smooth ascent. Recognising such phrases is how performers identify a raga by ear.

Question 47Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

A performer emphasises the note ga throughout an alap and returns to it repeatedly, while ma receives secondary emphasis. Which pair of terms describes ga and ma in this raga?

  1. Samvadi and vadi
  2. Vadi and samvadi Correct answer.
  3. Aroha and avaroha
  4. Pakad and samay

Explanation

The note that receives the greatest emphasis is the vadi, and the note of secondary importance is the samvadi. Here ga is emphasised most, so it is the vadi, and ma, with secondary emphasis, is the samvadi. The other pairs name different concepts entirely.

Question 48Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Which statement about the relationship between vadi and samvadi is generally true in Hindustani ragas?

  1. They must both be komal swaras
  2. They are always adjacent notes in the scale
  3. They are often separated by a fourth or a fifth Correct answer.
  4. They are always the same note

Explanation

The vadi and samvadi are usually consonant with each other and are frequently separated by a fourth or a fifth, which gives the raga a stable tonal centre. For example, if sa is the vadi, ma or pa is often the samvadi. They are distinct notes and are not required to be komal.

Question 49Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Which rasa is most closely associated with Raga Khamaj, often performed in the evening?

  1. Shringar Correct answer.
  2. Karuna
  3. Adbhut
  4. Veer

Explanation

Khamaj has a light, romantic and playful character and is commonly linked with shringar rasa, the mood of love and beauty. It is often used for thumri and light classical pieces as well as for khayal. Karuna and veer belong to more serious ragas.

Question 50Raga knowledge: aroha, avaroha, pakad, vadi, samvadi, time of day, and rasa

Raga Bageshri is traditionally performed at which time, and which rasa does it evoke?

  1. Late night, shringar Correct answer.
  2. Late afternoon, hasya
  3. Early morning, veer
  4. Midday, karuna

Explanation

Bageshri is a late-night raga associated with shringar rasa, the mood of longing and love. Its characteristic phrases often touch komal ga and komal ni and it omits pa in the ascent. The combination of late-night time and shringar mood is central to its identity.