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Odisha CHSE +2 Vocational Hindustani Vocal study materials
Odisha CHSE +2 Vocational Hindustani Vocal study resources

Odisha CHSE +2 Vocational Hindustani Vocal practice questions

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Question 1Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

In Hindustani sangeet, what does the word 'svara' most precisely refer to?

  1. The poetic text sung in a khayal composition
  2. The speed at which a tabla player performs a theka
  3. A single musical tone of definite pitch that the ear can identify and reproduce Correct answer.
  4. The rhythmic cycle that repeats throughout a composition

Explanation

Svara means a musical tone of definite, identifiable pitch, the basic melodic unit of Hindustani music. Rhythm cycles, tempo, and lyric text belong to tala and laya, not to svara. The concept of svara therefore underlies all melody in the saptak.

Question 2Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

How many svaras are counted in the shuddha (natural) set of a saptak before the upper Shadaj is reached?

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

Explanation

A saptak contains seven shuddha svaras: Sa, Re, Ga, Ma, Pa, Dha, Ni, after which the upper Sa completes the octave. The upper Shadaj is the same svara as the lower Sa at double frequency. Twelve refers to all positions including vikrit svaras, not the shuddha set.

Question 3Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

The three registers of the human voice in Hindustani music are known as:

  1. Vilambit, madhya, drut
  2. Sam, tali, khali
  3. Mandra, madhya, taar Correct answer.
  4. Aroha, avaroha, pakad

Explanation

The three saptak registers are mandra (lower), madhya (middle), and taar (upper). Vilambit, madhya, and drut are the three laya speeds, not registers. Recognising which saptak a phrase sits in is essential when singing a raga.

Question 4Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

In a tala, the term 'matra' denotes:

  1. An empty, unaccented section of the cycle
  2. The first beat of the cycle
  3. The ornamented entry of the soloist after the theka
  4. A single counted beat or pulse of the cycle Correct answer.

Explanation

Matra is one counted beat of a tala cycle, the smallest unit of measurement in the rhythmic framework. The first beat is sam, and an unaccented section is khali. Counting matras aloud is the first skill a student learns in tala practice.

Question 5Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

The term 'sam' in Hindustani tala refers to:

  1. The second vibhag of a tala, which is always khali
  2. A komal svara used only in the mandra saptak
  3. The first matra of the cycle, which carries the main accent and is the point of resolution Correct answer.
  4. The fastest laya used in a tarana

Explanation

Sam is the first and most important matra of a tala cycle, where melodic and rhythmic phrases resolve and the cycle restarts. Performers show sam by a gesture of the hand and the tabla player's theka marks it clearly. Confusing sam with khali or with tempo is a common beginner error.

Question 6Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A vibhag of a tala is best described as:

  1. A group of matras forming one section of the cycle Correct answer.
  2. The decorative flourish played at the end of a composition
  3. The ascending order of svaras in a raga
  4. A single matra marked by a clap

Explanation

A vibhag is a division of the tala cycle containing a group of matras, marked either by tali (clap) or khali (wave). Teental, for example, has four vibhags of four matras each. Vibhags give the cycle its internal shape and help the performer feel the tala.

Question 7Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

In tala notation, khali is indicated by:

  1. The numeral 1 written above the matra
  2. A solid cross written above the matra
  3. A double bar line at the end of the cycle
  4. An empty circle, or a wave of the hand instead of a clap Correct answer.

Explanation

Khali marks an unaccented section of the cycle and is shown by an empty circle in notation or by a wave of the hand rather than a clap. Tali sections, being accented, are shown by claps and numbered. Distinguishing khali from tali is essential for correct theka recitation.

Question 8Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

Teental has 16 matras. How are these matras divided into vibhags?

  1. Four vibhags of four matras each Correct answer.
  2. Two vibhags of eight matras each
  3. Eight vibhags of two matras each
  4. Three vibhags of five, five, and six matras

Explanation

Teental is divided into four equal vibhags of four matras, marked by tali on matras 1, 5, and 13 and khali on matra 9. Its theka is commonly recited as dha dhin dhin dha, dha dhin dhin dha, dha tin tin ta, ta dhin dhin dha. Equal four-matras groups give the cycle its characteristic balance.

Question 9Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

In Jhaptal, which matra carries khali?

  1. Matra 6 Correct answer.
  2. Matra 3
  3. Matra 1
  4. Matra 8

Explanation

Jhaptal has ten matras in four vibhags of 2, 3, 2, and 3, with tali on matras 1, 3, and 8 and khali on matra 6. The theka is recited as dhi na, dhi dhi na, ti na, dhi dhi na. Knowing that the third vibhag begins with khali is essential for correct recitation.

Question 10Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A student claps on matras 1, 5, and 13 of a 16-matra cycle and waves on matra 9. Which tala is being shown?

  1. Keherwa
  2. Jhaptal
  3. Ektaal
  4. Teental Correct answer.

Explanation

Teental has 16 matras, with tali on matras 1, 5, and 13 and khali on matra 9, exactly matching the described hand pattern. Ektaal also has 16 matras but a different division of 2, 2, 2, 2, 2, 2, 2, 2 with khali on matras 3 and 7. Jhaptal and Keherwa have ten and eight matras respectively.

Question 11Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

Which statement correctly distinguishes tali from khali?

  1. Tali and khali are identical markers used only in instrumental music
  2. Tali marks the end of a composition, while khali marks its beginning
  3. Tali is an accented section shown by a clap, while khali is unaccented and shown by a wave Correct answer.
  4. Tali is an unaccented wave of the hand, while khali is an accented clap

Explanation

Tali marks accented positions in the tala cycle and is shown by a clap, whereas khali marks unaccented positions and is shown by a wave of the hand. The alternation of tali and khali gives a tala its characteristic swing. The tabla theka changes its bols at khali to reflect the lighter sound.

Question 12Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

Laya in Hindustani music is best translated as:

  1. The pitch level of the tanpura
  2. The tempo or speed of the rhythmic flow Correct answer.
  3. The ornamented glide between two svaras
  4. The number of matras in a cycle

Explanation

Laya refers to tempo, the speed at which the rhythmic flow proceeds, commonly classified as vilambit, madhya, and drut. It is independent of the number of matras in a tala, though the two interact in performance. Meend is the glide between svaras, and pitch level is the scale chosen for the performance.

Question 13Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A performer sings a composition so that each matra holds two svaras in a steady stream. This laya is described as:

  1. Barabar ki laya
  2. Chaumasi laya
  3. Tigun laya
  4. Dugun laya Correct answer.

Explanation

Dugun laya means singing or playing at twice the speed of the basic beat, so two svaras or bols fall in each matra. Barabar ki laya is the basic one-to-one speed, and tigun is three per matra. Recognising these multiples is central to layakari practice.

Question 14Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

Which sequence correctly orders the three standard laya from slowest to fastest?

  1. Madhya, vilambit, drut
  2. Vilambit, madhya, drut Correct answer.
  3. Vilambit, drut, madhya
  4. Drut, madhya, vilambit

Explanation

The standard order from slow to fast is vilambit (slow), madhya (medium), and drut (fast). In khayal performance the vilambit bandish is usually followed by a madhya or drut composition. Reversing the order misrepresents the tempo relationship.

Question 15Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

In a 16-matra teental cycle, a phrase begins on matra 13 and resolves exactly on sam after one full cycle. How many matras does that phrase span before reaching sam?

  1. Three
  2. Sixteen
  3. Five
  4. Four Correct answer.

Explanation

From matra 13 to the next sam, the phrase passes through matras 13, 14, 15, and 16, which is four matras. The next sam is the start of the following cycle. Counting the distance to sam is a routine skill in layakari and tihai construction.

Question 16Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A tihai is designed so that its final note lands on sam. A three-part tihai of equal phrases in teental begins on matra 9. What is the length of each phrase?

  1. Three matras Correct answer.
  2. Eight matras
  3. Four matras
  4. Two matras

Explanation

From matra 9 to the next sam there are eight matras, since matras 9 through 16 must be filled. Three equal phrases filling eight matras would not divide evenly, so the phrase must be counted with a gap; the standard calculation here gives three matras per phrase with a gap before the first. Such calculations are the practical core of tihai construction.

Question 17Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

Which pair of svaras is regarded as vikrit (altered) in the standard Hindustani svara system?

  1. Sa and Pa
  2. Ma and Pa in their shuddha forms
  3. Re and Dha in their komal forms Correct answer.
  4. Sa and Ni in their shuddha forms

Explanation

Sa and Pa are achala or fixed svaras and are never altered, while Re, Ga, Dha, and Ni have komal forms and Ma has a tivra form. Thus komal Re and komal Dha are vikrit svaras. The twelve-svara chromatic set arises from the five vikrit positions added to the seven shuddha svaras.

Question 18Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A raga uses komal Re, shuddha Ga, shuddha Ma, Pa, komal Dha, and komal Ni. Which svara is conspicuously absent from this list?

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

Explanation

The list names six svaras but omits Sa, which is always present as the tonic in every raga. A raga cannot function without its Shadaj because all other svaras are measured from it. The given set of komal and shuddha svaras otherwise resembles the scale of Bhairavi.

Question 19Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

In Keherwa tala of eight matras, which matra carries khali?

  1. Matra 1
  2. Matra 7
  3. Matra 5 Correct answer.
  4. Matra 3

Explanation

Keherwa has eight matras in two vibhags of four, with tali on matra 1 and khali on matra 5. Its theka is commonly recited as dha ge na ti, na ka dhi na. The khali on matra 5 gives the cycle its characteristic lift.

Question 20Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

In Ektaal, which matras carry khali?

  1. Matras 5 and 13
  2. Matras 2 and 10
  3. Matras 1 and 9
  4. Matras 3 and 7 Correct answer.

Explanation

Ektaal has twelve matras divided into six vibhags of two, with tali on matras 1, 5, 9, and 11 and khali on matras 3 and 7. Its theka is recited as dhin dhin, dha ge, tir kit, tu na, kat ta, dha ge. The two khali positions give Ektaal its distinctive shape.

Question 21Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A composition in teental is sung with four svaras per matra while the theka continues at its original speed. This layakari is called:

  1. Tigun
  2. Dugun
  3. Chaumasi Correct answer.
  4. Vilambit

Explanation

Chaumasi laya places four units within each matra, producing a four-against-one relationship with the basic beat. Dugun gives two units and tigun gives three per matra. Vilambit describes slow tempo rather than a subdivision multiple.

Question 22Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

Which statement about the relationship between sam and laya is accurate?

  1. Sam remains the first matra of the cycle regardless of the laya used Correct answer.
  2. Sam moves to a different matra whenever the laya doubles
  3. Sam and laya are the same concept expressed in different languages
  4. Sam disappears in drut laya because the beat becomes too fast to mark

Explanation

Sam is a structural position, the first matra of the cycle, and does not shift when the tempo changes. Laya governs speed, and faster laya may make sam harder to mark, but the point of resolution remains the same. Keeping sam stable while varying laya is a core skill in performance.

Question 23Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A tabla player recites the theka of a tala while a vocalist sings a khayal bandish. Which element tells the listener where the unaccented section of the cycle falls?

  1. The khali in the theka Correct answer.
  2. The tanpura's tuning
  3. The aroha of the raga
  4. The pakad phrase of the raga

Explanation

The khali in the theka marks the unaccented section, and the tabla player's lighter bols signal it clearly to listeners and to the vocalist. Aroha and pakad are melodic features of the raga, and tanpura tuning relates to pitch, not to tala structure. Following khali is important for keeping the bandish aligned with the cycle.

Question 24Svar and Laya Fundamentals (swara, saptak, laya, tala, matra, vibhag, sam, tali, khali)

A student counts a 16-matra cycle and claps on matras 1, 5, and 13 but forgets to wave on matra 9. What is the most likely consequence?

  1. The tanpura drifts out of tune
  2. The raga's aroha changes to a different scale
  3. The composition automatically shifts to drut laya
  4. The unaccented vibhag is lost, so the internal shape of the tala is misrepresented Correct answer.

Explanation

Omitting the khali on matra 9 removes the unaccented vibhag, so the cycle is marked as if every vibhag were accented. This damages the internal shape of the tala and can confuse both performer and listener about where the cycle stands. Correct hand patterns must include both claps and waves.

Question 25Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

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

  1. The ascending order of swaras in a raga Correct answer.
  2. The time of day allotted to a raga
  3. The descending order of swaras in a raga
  4. The characteristic phrase that reveals a raga

Explanation

Aroha is the ascending movement of a raga, moving from lower to higher pitch in the order the raga permits. It is one of the ten principal lakshanas used to describe a raga's form. Avaroha is its descending counterpart, while pakad is the identifying phrase.

Question 26Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which lakshana is described as the short, memorable phrase that instantly identifies a raga?

  1. Chalan
  2. Jati
  3. Pakad Correct answer.
  4. Vadi

Explanation

Pakad means 'catch' or 'hold': a brief phrase that captures the raga's distinctive swara movements. It is used in teaching and in performance to establish the raga quickly. Chalan is the broader melodic behaviour, vadi is the principal note, and jati counts the notes.

Question 27Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

A raga is classified as 'sampurna' on the basis of its jati when:

  1. It uses six swaras in both aroha and avaroha
  2. It uses all seven swaras in both aroha and avaroha Correct answer.
  3. It omits the madhyam in aroha only
  4. It uses five swaras in aroha and six in avaroha

Explanation

Jati counts the swaras used in each direction. Sampurna means seven swaras, so a raga with all seven in both aroha and avaroha is sampurna-sampurna. Five notes give audav, six give shadav, and mixed counts are described by combining the two terms.

Question 28Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

In raga lakshana, the swara that is most frequently emphasised and gives the raga its principal character is called:

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

Explanation

The vadi is the principal or 'king' swara of a raga, the note around which the melodic personality revolves. It is usually sounded more often and more prominently than other notes. Samvadi is the second in importance, anuvadi are supporting notes, and vivadi are excluded or used only in passing.

Question 29Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

A swara that is treated as dissonant or forbidden within a particular raga is known as:

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

Explanation

Vivadi means 'opposing' and refers to a swara that does not belong to the raga's scale or is used only in a very restricted way. It is distinguished from anuvadi, which are the supporting notes. The vadi and samvadi are the raga's most important and consonant swaras.

Question 30Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which statement correctly describes the relationship between vadi and samvadi?

  1. They are usually a fourth or fifth apart and both are consonant with the raga Correct answer.
  2. They must both be komal swaras
  3. They are always adjacent swaras in the scale
  4. They are always the same swara

Explanation

Vadi and samvadi are the two most important swaras of a raga, and classical theory places them generally at an interval of a fourth or fifth. Both are consonant (samvadi) with the raga's tonal structure. They are distinct swaras, and their positions are not fixed to adjacency or to komal notes.

Question 31Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

A raga uses S R G P D in aroha and S N D P G R S in avaroha. Its jati is best described as:

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

Explanation

Count the swaras in each direction: aroha has S R G P D, five notes, which is audav; avaroha has S N D P G R S, six notes, which is shadav. The jati is therefore audav-shadav, written with the aroha count first. This mixed jati is common in ragas such as those of the Kafi and Asavari families.

Question 32Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

The term 'chalan' in raga lakshana refers to:

  1. The time of day prescribed for the raga
  2. The characteristic melodic movement and phrases of the raga in performance Correct answer.
  3. The list of forbidden swaras
  4. The fixed ascending scale of the raga

Explanation

Chalan describes how a raga actually moves in performance, including characteristic phrases, vakra (zig-zag) motion, and the treatment of individual swaras. It goes beyond the plain aroha and avaroha lists. Pakad is a short identifying phrase within the chalan, while samay is the time prescription.

Question 33Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Raga Bhairav is traditionally associated with which time of performance?

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

Explanation

Bhairav belongs to the Bhairav thaat and is a morning raga, typically sung in the first quarter of the day. Its komal Rishabh and komal Dhaivat give it a grave, devotional morning character. Evening and midnight are allotted to different ragas such as Yaman and Malkauns respectively.

Question 34Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which pair of ragas is correctly matched with its traditional performance time?

  1. Yaman - early night Correct answer.
  2. Todi - late night
  3. Bhairav - late afternoon
  4. Malkauns - early morning

Explanation

Yaman is a sandhi-prakash raga of the evening and is traditionally performed in the first quarter of the night. Malkauns belongs to the small hours of the night, Todi to the late morning, and Bhairav to the early morning. Time prescriptions follow the thaat and the rasa of each raga.

Question 35Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

A raga whose aroha omits Gandhar and Dhaivat while its avaroha includes them is an example of which type of vakra treatment?

  1. Vivadi swara
  2. Sampurna jati
  3. Samvadi swara
  4. Vakra or varjit swara in one direction only Correct answer.

Explanation

When a swara is left out in one direction but present in the other, the raga shows a varjit (omitted) note in aroha and a vakra or mixed treatment overall. This produces the asymmetric jati typical of many ragas. Vivadi and samvadi refer to the consonance and importance of swaras, not to directional omission.

Question 36Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which of the following best states the difference between aroha and avaroha in raga analysis?

  1. Aroha is the vadi and avaroha the samvadi
  2. Aroha is the time of day and avaroha the season
  3. Aroha is the pakad and avaroha the chalan
  4. Aroha is the ascending order and avaroha the descending order of the swaras used Correct answer.

Explanation

Aroha and avaroha are the two directional scales of a raga: ascending and descending respectively. They may differ in the number and order of swaras, which is why jati is stated separately for each direction. Pakad, chalan, vadi, samvadi, and samay are separate lakshanas.

Question 37Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

In a raga where Rishabh is the vadi and Pancham is the samvadi, which swaras are the anuvadi?

  1. The remaining swaras of the raga other than vadi and samvadi Correct answer.
  2. Only the vivadi swaras
  3. Only the vadi and samvadi together
  4. The swaras omitted from the aroha

Explanation

Anuvadi are the supporting swaras: all the notes of the raga that are neither vadi nor samvadi. They help fill out the melodic movement around the two principal notes. Vivadi are excluded or restricted notes, and omitted swaras are varjit, not anuvadi.

Question 38Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which statement about the samay (time) theory of ragas is most accurate?

  1. Time prescriptions depend only on the vadi swara
  2. Time prescriptions are based on the cycle of day and night and on the raga's rasa and thaat Correct answer.
  3. Every raga may be sung at any time without change of character
  4. Time prescriptions apply only to instrumental music

Explanation

Samay-siddhanta assigns ragas to periods of the day and night according to the cycle of the sun and moon, and to the emotional character (rasa) and scale family of the raga. Ragas of the morning tend to be serene or devotional, while evening and night ragas may be more romantic or grave. The system applies to vocal and instrumental music alike.

Question 39Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

A raga has the aroha S R G M P D N S and avaroha S N D P M G R S, with vadi Gandhar. Which swara is most likely its samvadi under the fourth-or-fifth rule?

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

Explanation

The samvadi is conventionally a fourth or fifth from the vadi. Counting upward from Gandhar, the fifth is Dhaivat, and the fourth is Nishad; classical practice usually favours the fifth for this relationship, making Dhaivat the expected samvadi. Rishabh and Madhyam are a second and a third away respectively.

Question 40Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which of these is a correct example of a raga with audav jati in both aroha and avaroha?

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

Explanation

Malkauns uses five swaras - S g m d n - in both directions, so it is audav-audav. Bhairav, Yaman, and Todi all use seven swaras in each direction and are sampurna. This makes Malkauns the classic example of a pentatonic raga in the syllabus.

Question 41Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

The pakad of a raga differs from its aroha mainly because the pakad:

  1. Uses a characteristic phrase with specific vakra movements Correct answer.
  2. Lists swaras in strict ascending order only
  3. Names the thaat of the raga
  4. Gives the time of the raga

Explanation

Aroha is a plain ascending list, whereas the pakad is a phrase that uses the raga's characteristic turns, including vakra motion and specific resting notes. The pakad therefore reveals the raga's identity more fully than the scale alone. Time and thaat are separate lakshanas.

Question 42Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which swara is the vadi of raga Bhairav?

  1. Shuddha Madhyam
  2. Komal Rishabh Correct answer.
  3. Shuddha Nishad
  4. Komal Dhaivat

Explanation

In Bhairav the vadi is komal Rishabh, with komal Dhaivat as the samvadi. The oscillation (andolan) on komal Rishabh is one of the raga's most recognisable features. Shuddha Madhyam and Nishad are supporting swaras rather than the vadi.

Question 43Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

In raga Yaman, which swara is the vadi and which is the samvadi?

  1. Vadi Nishad, samvadi Gandhar
  2. Vadi Madhyam, samvadi Rishabh
  3. Vadi Pancham, samvadi Rishabh
  4. Vadi Gandhar, samvadi Nishad Correct answer.

Explanation

Yaman uses tivra Madhyam and has Gandhar as its vadi and Nishad as its samvadi. The strong Gandhar and the tivra Madhyam give the raga its serene evening character. The other pairs reverse or misassign these two central notes.

Question 44Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

A student claims that a raga with the aroha S R M P N S and avaroha S N P M R S has shadav jati. Which correction is right?

  1. It is sampurna because both directions use all seven swaras
  2. It is shadav in aroha and sampurna in avaroha
  3. It is audav in aroha and shadav in avaroha
  4. It is audav because five swaras appear in each direction Correct answer.

Explanation

The aroha uses S R M P N, five swaras, and the avaroha uses S N P M R S, also five. Both directions are therefore audav, giving audav-audav jati. Shadav would require six swaras in a direction, and sampurna seven.

Question 45Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which statement about vivadi swaras is correct?

  1. They are dissonant to the raga and are generally avoided or used only in passing Correct answer.
  2. They are the swaras that give the raga its time of day
  3. They are the most frequently used swaras of a raga
  4. They are the second most important swaras after the vadi

Explanation

Vivadi swaras clash with the tonal structure of a raga and are therefore excluded or used only fleetingly. They are distinguished from anuvadi, the supporting notes, and from vadi and samvadi, the principal notes. Time of day is determined by other factors such as thaat and rasa.

Question 46Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which of these ragas is traditionally performed in the late night (third prahar of the night)?

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

Explanation

Malkauns is a grave, midnight raga belonging to the Bhairavi thaat family and is associated with the third prahar of the night. Bhairav and Todi are morning ragas, while Yaman belongs to the first prahar of the night. The time prescription reflects the raga's emotional weight.

Question 47Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

The aroha of a raga is S R G M P D N S and its avaroha is S N D P M G R S, but in practice the phrase G M G R S is heard repeatedly. This phrase is best described as:

  1. The thaat of the raga
  2. The samay of the raga
  3. Part of the pakad or chalan showing the raga's characteristic movement Correct answer.
  4. The vivadi treatment of the raga

Explanation

A recurring characteristic phrase such as G M G R S reveals how the raga actually moves and functions as part of its pakad or chalan. The plain aroha and avaroha do not capture this vakra motion. Thaat and samay are separate classifications.

Question 48Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

Which combination correctly matches a raga with its vadi and its traditional time?

  1. Yaman - vadi Pancham - late night
  2. Bhairav - vadi komal Rishabh - early morning Correct answer.
  3. Malkauns - vadi Nishad - late morning
  4. Todi - vadi Dhaivat - midnight

Explanation

Bhairav has komal Rishabh as vadi and is an early morning raga, so this pairing is correct on both counts. Yaman's vadi is Gandhar and it is an early-night raga; Malkauns is a midnight raga with Madhyam as vadi; Todi is a late morning raga with Dhaivat as vadi.

Question 49Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

In the lakshana of a raga, the term 'jati' is used to describe:

  1. The number of swaras used in aroha and avaroha Correct answer.
  2. The emotional mood of the raga
  3. The time of day of the raga
  4. The principal swara of the raga

Explanation

Jati classifies a raga by how many swaras it employs in each direction: audav (five), shadav (six), or sampurna (seven). The two directions are stated together, as in audav-shadav. Rasa, samay, and vadi are separate lakshanas.

Question 50Raga Theory and Lakshana (aroha, avaroha, pakad, chalan, vadi, samvadi, anuvadi, vivadi, jati, time of day)

In raga lakshana, which swara is described as vivadi?

  1. A swara that is repeated as a nyasa on the samvadi
  2. A swara that is dissonant with the vadi and is therefore avoided or used sparingly Correct answer.
  3. A swara that is not used at all in the raga's aroha or avaroha
  4. A swara that is sounded only in the avaroha and never in the aroha

Explanation

Vivadi means a swara that creates a harsh or unwanted consonance against the vadi of the raga, so performers treat it as forbidden or use it only in passing. It is distinct from a varjit swara, which is simply omitted from the aroha or avaroha. The classification vadi, samvadi, anuvadi, vivadi therefore describes the swara's functional relationship, not its mere presence or absence.