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CHSE Odisha Vocational Odissi Pakhwaj (Mardal) study materials
CHSE Odisha Vocational Odissi Pakhwaj (Mardal) study resources

CHSE Odisha Vocational Odissi Pakhwaj (Mardal) practice questions

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Question 1Instrumental Technique and Basic Strokes (Bols)

In Odissi Pakhwaj playing, which bol is produced by striking the left (bayan) head with the flat palm to give the deep resonant bass?

  1. Ga Correct answer.
  2. Na
  3. Dha
  4. Ti

Explanation

Ga is the open resonant stroke on the left bayan head, played with a relaxed flat palm so the bass sustains. It is the standard bass bol used to anchor the rhythmic cycle in Pakhwaj accompaniment.

Question 2Instrumental Technique and Basic Strokes (Bols)

Which pair of bols is played on the right (dahina) head of the Pakhwaj to produce closed, non-resonant sounds?

  1. Ga and Ka
  2. Ti and Ta Correct answer.
  3. Ge and Ghe
  4. Dha and Dhi

Explanation

Ti and Ta are closed strokes executed on the right head, where the palm or fingers damp the skin immediately after the strike. They give a short, dry sound that contrasts with open resonant strokes.

Question 3Instrumental Technique and Basic Strokes (Bols)

A Pakhwaj player must produce the bol 'Dha'. Which description correctly identifies how it is executed?

  1. A simultaneous stroke combining a right-head and left-head sound Correct answer.
  2. A sliding press of the wrist across the right head
  3. A single flat strike on the left head only
  4. A muted fingertip tap on the wooden rim

Explanation

Dha is a composite bol: a right-hand stroke such as Ta or Na is sounded together with the left-hand bass stroke Ga. The combined resonance is what gives Dha its full, balanced character.

Question 4Instrumental Technique and Basic Strokes (Bols)

In Odissi Mardal/Pakhwaj practice, what does the term 'bol' refer to?

  1. The spoken syllable that names a drum stroke Correct answer.
  2. The leather strap used to tension the shell
  3. The tuning paste applied to the left head
  4. The decorative cloth cover of the instrument

Explanation

Bols are the oral syllables, such as Dha, Ga, Ti and Na, that encode specific strokes and their combinations. They allow rhythms to be recited before being played, which is central to Odissi percussion training.

Question 5Instrumental Technique and Basic Strokes (Bols)

Which bol is characteristically played with a sharp, closed stroke on the right head while the left head is damped, giving a dry sound used to mark off-beats?

  1. Ka Correct answer.
  2. Ga
  3. Ghe
  4. Dha

Explanation

Ka is a closed right-head stroke, often with the left head damped, producing a dry percussive click. It is valued for marking crisp subdivisions and off-beat accents in Odissi rhythmic patterns.

Question 6Instrumental Technique and Basic Strokes (Bols)

When reciting a Pakhwaj theka in Odissi style, which bol most often falls on the sam (first beat) of an eight-beat cycle to give a strong, full opening?

  1. Ka
  2. Ta
  3. Dha Correct answer.
  4. Ti

Explanation

Sam is the point of resolution and is normally marked with a full resonant bol such as Dha. The composite Dha combines bass and treble, giving the downbeat its weight and clarity.

Question 7Instrumental Technique and Basic Strokes (Bols)

Which hand position is correct for producing the open bass bol 'Ge' on the Pakhwaj?

  1. Knuckles rapped sharply on the wooden shell
  2. Thumb pressed into the rim of the right head
  3. Relaxed flat palm landing near the centre of the left head Correct answer.
  4. Fingertips pressed hard into the centre of the right head

Explanation

Ge is an open left-head bol played with a relaxed flat palm near the centre of the bayan. The relaxed contact lets the head ring, producing the deep sustained bass that underpins the rhythm.

Question 8Instrumental Technique and Basic Strokes (Bols)

In Odissi percussion, what is the primary purpose of reciting bols aloud before playing them on the Pakhwaj?

  1. To tune the instrument to the singer's pitch
  2. To warm the drum skin before performance
  3. To internalise rhythm and articulation before transferring it to the hands Correct answer.
  4. To signal the dancer to begin the item

Explanation

Oral recitation of bols builds a mental map of the rhythm and of each stroke's articulation. Only after the pattern is secure in speech is it transferred to the hands, a standard method in Odissi Mardal training.

Question 9Instrumental Technique and Basic Strokes (Bols)

A student plays the sequence 'Dha Dha Ti Ta'. How many distinct left-hand bass strokes occur in this sequence?

  1. One
  2. Three
  3. Four
  4. Two Correct answer.

Explanation

Only Dha contains a left-hand bass component, and it appears twice in the sequence. Ti and Ta are closed right-head strokes with no bass element, so the bass count is two.

Question 10Instrumental Technique and Basic Strokes (Bols)

Which statement best distinguishes 'Ta' from 'Na' in Pakhwaj stroke vocabulary?

  1. Ta is played on the shell while Na is played on the strap
  2. Ta and Na are identical and used interchangeably in all gharana traditions
  3. Ta is a closed rim stroke while Na is an open resonant stroke near the centre of the right head Correct answer.
  4. Ta is a left-hand bass stroke while Na is a right-hand treble stroke

Explanation

Ta is executed as a closed stroke at the rim area, giving a dry sound, whereas Na is an open stroke nearer the centre of the right head with more ring. The contrast in placement and damping defines the two bols.

Question 11Instrumental Technique and Basic Strokes (Bols)

In an eight-beat Odissi rhythmic cycle, a player wishes to place a resonant bass bol on the khali (empty) section. Which choice is most appropriate?

  1. A muted Ka to keep the section light
  2. A rim tap on the shell
  3. An open Ga to sustain the bass Correct answer.
  4. A closed Ti to mark the subdivision

Explanation

Khali is the 'empty' half of the cycle, traditionally marked by an open left-head bass bol such as Ga, which contrasts with the filled, resonant sam. The open Ga gives the section its characteristic lighter, ringing colour.

Question 12Instrumental Technique and Basic Strokes (Bols)

A composition requires the bol 'Dhi'. Which description correctly explains its execution?

  1. A composite stroke joining a right-head closed sound with a left-head resonant sound Correct answer.
  2. A double strike of both palms on the right head
  3. A muted press of the elbow on the left head
  4. A single open stroke on the left head only

Explanation

Dhi is a composite bol like Dha, combining a right-hand stroke with the left-hand bass. The specific right-hand component and damping give Dhi its own colour, distinct from Dha.

Question 13Instrumental Technique and Basic Strokes (Bols)

Which factor most directly determines whether a right-head Pakhwaj stroke sounds open or closed?

  1. The length of the player's fingernails
  2. The colour of the tensioning strap
  3. Whether the skin is allowed to ring or is damped immediately after contact Correct answer.
  4. The direction the player faces on stage

Explanation

Open versus closed depends on whether the struck skin is left free to resonate or is immediately damped by the hand. Damping kills the ring and yields a closed bol, while release yields an open one.

Question 14Instrumental Technique and Basic Strokes (Bols)

A player recites 'Dha Ti Dha Ge'. Which bol in this sequence provides the strongest sustained bass?

  1. Ge Correct answer.
  2. The second Dha
  3. Ti
  4. Dha

Explanation

Ge is the pure open left-head stroke and therefore gives the longest, deepest bass sustain. Dha contains bass but is combined with a treble stroke, and Ti has no bass at all.

Question 15Instrumental Technique and Basic Strokes (Bols)

In Odissi Mardal practice, what is the function of the 'theka'?

  1. A dance posture held during percussion interludes
  2. A solo improvisation performed without any fixed cycle
  3. A tuning ritual performed before each concert
  4. A fixed stroke pattern that defines the rhythmic cycle and is repeated as accompaniment Correct answer.

Explanation

The theka is the recurring bol pattern that identifies and anchors a particular tala. It provides the rhythmic framework against which dancers and singers perform.

Question 16Instrumental Technique and Basic Strokes (Bols)

A student's 'Na' stroke sounds dull and thuddy instead of bright. Which correction is most likely to improve it?

  1. Strike nearer the rim with relaxed fingers and allow the skin to ring Correct answer.
  2. Increase pressure with the left palm throughout the stroke
  3. Press the palm flat onto the centre of the right head
  4. Strike the wooden shell instead of the head

Explanation

Brightness on the right head comes from striking the responsive rim area with relaxed fingers so the skin can resonate. Flattening the palm or damping the head removes the ring and produces a dull sound.

Question 17Instrumental Technique and Basic Strokes (Bols)

Which sequence correctly pairs each bol with its head of execution for Ga, Ti, and Dha?

  1. Ga: right head; Ti: left head; Dha: left head only
  2. Ga: left head; Ti: right head; Dha: both heads Correct answer.
  3. Ga: left head; Ti: both heads; Dha: left head only
  4. Ga: both heads; Ti: left head; Dha: right head only

Explanation

Ga is a left-head bass stroke, Ti is a closed right-head stroke, and Dha is a composite spanning both heads. This mapping is fundamental to reading Pakhwaj bol notation.

Question 18Instrumental Technique and Basic Strokes (Bols)

During a fast Odissi passage, a player alternates 'Ti Ta Ti Ta'. What is the main rhythmic effect of this pattern?

  1. A crisp sequence of dry subdivisions without bass weight Correct answer.
  2. A sustained bass drone across the passage
  3. A gradual slowing of the tempo
  4. A change of tala to a different cycle length

Explanation

Ti and Ta are both closed right-head strokes, so alternating them yields a light, dry stream of subdivisions. Because neither carries bass, the passage stays crisp and rhythmically transparent.

Question 19Instrumental Technique and Basic Strokes (Bols)

Which statement about the relationship between Odissi dance and Pakhwaj bols is accurate?

  1. Pakhwaj bols are chosen at random regardless of the dance item
  2. Bols are used only for solo percussion and never relate to dance
  3. Specific bol patterns correspond to dance units such as charis and are used to accompany movement Correct answer.
  4. Dancers recite bols but percussionists do not

Explanation

In Odissi, percussion bol patterns are closely tied to dance vocabulary, with particular stroke groupings supporting units of movement. The drummer and dancer share a rhythmic language built on these bols.

Question 20Instrumental Technique and Basic Strokes (Bols)

A player wants to create a clear contrast between an open resonant passage and a following muted passage within the same cycle. Which pair of bols best achieves this contrast?

  1. Ka followed by Ti
  2. Ga followed by Ka Correct answer.
  3. Ti followed by Ta
  4. Ka followed by Ka

Explanation

Ga is open and resonant while Ka is closed and dry, so moving from Ga to Ka produces a strong textural contrast. Pairing two closed strokes or two similar strokes would not create the same effect.

Question 21Instrumental Technique and Basic Strokes (Bols)

In Pakhwaj technique, what happens acoustically when the left palm remains in contact with the bayan head after a stroke?

  1. The right head becomes completely silent
  2. The pitch of the right head rises
  3. The bass is damped and the resonance is cut short Correct answer.
  4. The bass sustain is lengthened

Explanation

Continued palm contact damps the left head, absorbing its vibration and cutting the bass short. Players use this deliberately to create muted bass effects and to control the length of resonant strokes.

Question 22Instrumental Technique and Basic Strokes (Bols)

A composition alternates 'Dha' and 'Dhi' on successive beats. Which element is shared by both bols?

  1. Both are played with a single finger on the right head
  2. Both are closed strokes on the wooden rim
  3. Both are pure left-head bass strokes
  4. Both combine a right-head stroke with a left-head bass component Correct answer.

Explanation

Dha and Dhi are both composite bols in which a right-hand stroke is sounded together with a left-hand bass stroke. They differ in the specific right-hand component and damping, not in being composite.

Question 23Instrumental Technique and Basic Strokes (Bols)

A drummer must mark sam strongly while keeping the khali light in the same eight-beat cycle. Which bol placement best reflects this convention?

  1. Ka on sam and Dha on khali
  2. Ga on sam and Dha on khali
  3. Dha on sam and Ga on khali Correct answer.
  4. Ti on sam and Dha on khali

Explanation

The convention places a full resonant composite such as Dha on sam and a lighter open bass such as Ga on khali. This contrast makes the cycle's two halves audible to dancers and listeners.

Question 24Instrumental Technique and Basic Strokes (Bols)

A student's fast 'Dha Dha' passage sounds muddy because the bass from each stroke bleeds into the next. Which technical adjustment most directly solves this?

  1. Recite the bols more loudly while playing
  2. Strike the right head harder to overpower the bass
  3. Shift all strokes to the wooden rim
  4. Damp the left head with the palm between strokes to control bass length Correct answer.

Explanation

Muddiness in fast composite passages usually comes from uncontrolled bass sustain. Briefly damping the left head between strokes limits each bass note, restoring clarity while preserving the composite character of Dha.

Question 25Instrumental Technique and Basic Strokes (Bols)

Which statement most accurately describes how Pakhwaj bols function as a notational system in Odissi percussion?

  1. Bols are decorative names with no fixed relationship to strokes
  2. Each bol can mean any stroke depending on the performer's mood
  3. Each bol maps to a specific stroke or stroke combination, allowing patterns to be written, recited, and reproduced consistently Correct answer.
  4. Bols record only tempo and never stroke quality

Explanation

Bols form a systematic vocabulary in which each syllable corresponds to a defined stroke or combination, including which head is used and whether the sound is open or closed. This makes rhythmic compositions transmissible through recitation and notation.

Question 26Instrumental Technique and Basic Strokes (Bols)

In Pakhwaj bol vocabulary, which stroke is produced by striking the right head with the fingers held flat so that the sound is closed and non-resonant?

  1. Dha
  2. Ge
  3. Ti Correct answer.
  4. Ta

Explanation

Closed, flat-finger strokes on the right head belong to the 'Ti' family, which produces a short muffled sound with no sustain. 'Ta' is a ringing right-head stroke, while 'Dha' and 'Ge' both involve the resonant left head. The distinction rests on whether the membrane is damped at the moment of contact.

Question 27Instrumental Technique and Basic Strokes (Bols)

Which pair of bols is played entirely on the left (bass) head of the Pakhwaj?

  1. Ge and Ghe Correct answer.
  2. Dha and Dhi
  3. Na and Tin
  4. Ti and Ta

Explanation

'Ge' and 'Ghe' are open bass bols executed on the left head, giving a deep sustained sound. Composite bols such as 'Dha' and 'Dhi' combine a right-head stroke with left-head bass, so they are not left-hand only. Recognising which bols are single-head helps a player plan hand alternation in fast passages.

Question 28Instrumental Technique and Basic Strokes (Bols)

A learner recites a theka aloud in proper Odissi syllabic form before touching the instrument. Which benefit does this practice most directly provide?

  1. It fixes the bol sequence and its stress pattern in memory before motor coordination is added Correct answer.
  2. It allows the player to skip counting the matra
  3. It increases the volume the drum can produce
  4. It removes the need to tune the left head

Explanation

Vocal recitation internalises the order of bols and the weight each carries, so the hands later follow an already-known pattern. This is why padhant precedes practice on the instrument in traditional training. Volume, tuning and counting are separate concerns unaffected by recitation.

Question 29Instrumental Technique and Basic Strokes (Bols)

Which term describes the bare, unornamented rhythmic cycle in Odissi percussion around which compositions are built?

  1. Theka Correct answer.
  2. Mohra
  3. Laya
  4. Tihai

Explanation

The theka is the basic bol framework of a cycle that repeats and anchors accompaniment. Laya refers to tempo, while tihai and mohra are cadential compositions. Keeping the theka steady lets the dancer rely on a predictable pulse.

Question 30Instrumental Technique and Basic Strokes (Bols)

A player strikes the right head and then presses the heel of the right hand onto the membrane immediately afterwards. What is the audible result?

  1. A sustained ringing tone
  2. A deeper bass tone
  3. An immediate cut-off of the resonance Correct answer.
  4. A rise in pitch

Explanation

Pressing the hand on the head after contact damps the vibration, so the ring is stopped almost at once. This technique is used deliberately to produce short, dry strokes inside a fast pattern. It does not lower pitch or increase bass, which depend on the left head.

Question 31Instrumental Technique and Basic Strokes (Bols)

In a chatusra (eight-matra) Odissi cycle, a player wants the khali to sound noticeably lighter than the sam. Which change best achieves this?

  1. Play the khali with a long ringing 'Ta'
  2. Play the khali with a closed right-hand stroke and no bass Correct answer.
  3. Play the khali twice as loudly as sam
  4. Play the khali with an open left-hand bass bol

Explanation

Khali is marked by the absence of the resonant bass, so a closed right-hand stroke keeps it light and clearly distinguishable from sam. Adding bass or ringing strokes would blur the contrast the listener needs. Loudness increase would contradict the function of khali.

Question 32Instrumental Technique and Basic Strokes (Bols)

A student plays 'Dha Ge Na Ti' repeatedly at moderate speed. Which description of the hand activity is correct?

  1. All four strokes are played on the right head
  2. All four strokes are played on the left head
  3. Two strokes use the left head and two use the right head Correct answer.
  4. Three strokes use the left head and one uses the right head

Explanation

'Dha' and 'Ge' involve the left head, while 'Na' and 'Ti' are right-head strokes, giving a balanced two-and-two distribution. This alternation is what makes such patterns comfortable at speed. Misassigning heads produces awkward crossings and uneven tone.

Question 33Instrumental Technique and Basic Strokes (Bols)

Which bol is best chosen to end a cadential phrase exactly on sam with a full resonant sound?

  1. Ka
  2. Ti
  3. Dha Correct answer.
  4. Na

Explanation

'Dha' combines a right-head stroke with open left-head bass, giving the weight and sustain appropriate for landing on sam. Closed strokes such as 'Ti', 'Ka' and 'Na' are too dry to carry that arrival. Cadences therefore typically close on a composite resonant bol.

Question 34Instrumental Technique and Basic Strokes (Bols)

During a vilambit (slow) Odissi passage, a drummer wants each bass stroke to be clearly heard as a separate event. Which technique supports this?

  1. Using only closed right-hand strokes
  2. Playing every stroke on the right head only
  3. Striking the left head and allowing it to ring before the next stroke Correct answer.
  4. Keeping the left palm pressed on the head throughout

Explanation

At slow tempo there is time for the bass to bloom, so letting the left head ring gives each stroke its full identity. Continuous palm pressure would damp everything into dullness. Restricting to right-head strokes removes the bass entirely.

Question 35Instrumental Technique and Basic Strokes (Bols)

Which statement correctly describes the relationship between spoken bol syllables and their instrumental execution in Pakhwaj practice?

  1. Syllables indicate only tempo, not stroke type
  2. One syllable may be played with any stroke the player prefers
  3. Syllables are decorative and carry no playing instruction
  4. Each syllable corresponds to a specific stroke combination with defined tone quality Correct answer.

Explanation

Bol syllables are mnemonic instructions: each encodes which head is struck, with what part of the hand, and whether the result is open or closed. This is why a notation of bols can be read and reproduced accurately by another player. Treating syllables as arbitrary would make transmission impossible.

Question 36Instrumental Technique and Basic Strokes (Bols)

A player's 'Na' stroke sounds flat and muffled instead of bright. Which adjustment is most likely to correct it?

  1. Strike exactly at the centre of the right head with stiff fingers
  2. Press the left palm firmly while playing
  3. Strike the rim of the left head
  4. Strike nearer the centre of the right head with relaxed fingers Correct answer.

Explanation

Brightness on the right head comes from striking near the syahi edge with relaxed fingers that rebound cleanly. Stiff fingers or a dead-centre contact smother the ring. The left head is irrelevant to a right-head bol like 'Na'.

Question 37Instrumental Technique and Basic Strokes (Bols)

A drummer must play a fast passage in which every bass note must be immediately silenced before the next stroke. Which left-hand technique is required?

  1. Returning the palm to the head immediately after each stroke Correct answer.
  2. Leaving the palm off the head after each stroke
  3. Striking the left head at its outer rim
  4. Striking the left head with the fingertips only

Explanation

Rapid muting is achieved by letting the palm return to the head right after the strike, cutting the ring before the next note. This keeps fast bass passages articulate instead of blurred. Leaving the head free or using light fingertip contact allows the sound to bleed.

Question 38Instrumental Technique and Basic Strokes (Bols)

A composition places 'Dha' on sam and 'Dhi' on the following matra of the same cycle. Which element do these two bols share?

  1. Both are closed right-hand strokes
  2. Both are played only on the left head
  3. Both include an open left-head bass component Correct answer.
  4. Both are identical in execution

Explanation

'Dha' and 'Dhi' are composite bols, each pairing a right-head stroke with resonant left-head bass. The difference lies in which right-hand stroke is combined with the bass. Recognising the shared bass component explains why both feel heavy compared with khali strokes.

Question 39Instrumental Technique and Basic Strokes (Bols)

In an Odissi repertoire, a dancer's footwork accent falls on a specific matra while the drummer continues the theka. What is the drummer's most appropriate response?

  1. Support the accent with a matching bol while keeping the cycle intact Correct answer.
  2. Repeat the same bol for the entire cycle
  3. Slow the tempo abruptly to match the step
  4. Abandon the theka and improvise freely

Explanation

The drummer's role is to reinforce the dancer's accents without losing the underlying cycle, so a well-chosen bol marks the step while the theka continues. Abandoning the framework or disrupting tempo breaks the shared pulse. Uniform repetition ignores the accent entirely.

Question 40Instrumental Technique and Basic Strokes (Bols)

A player wants a clear timbral contrast between an open resonant phrase and a following muted phrase within one cycle. Which pairing of bol families best achieves this?

  1. Na and Ta for the open phrase, Dha and Ge for the muted phrase
  2. Ge and Ghe for the open phrase, Dha and Dhi for the muted phrase
  3. Ti and Ka for the open phrase, Dha and Dhi for the muted phrase
  4. Dha and Dhi for the open phrase, Ti and Ka for the muted phrase Correct answer.

Explanation

Open resonance requires composite bols with left-head bass such as 'Dha' and 'Dhi', while muted colour comes from closed right-head strokes like 'Ti' and 'Ka'. Pairing them this way makes the contrast unmistakable to listener and dancer. The reverse assignment would produce the opposite effect.

Question 41Tala System and Rhythmic Cycles in Odissi Music

In the Odissi tala system, how many matras (beats) does the cycle Ekatali contain?

  1. 4 Correct answer.
  2. 7
  3. 6
  4. 8

Explanation

Ekatali is a short cycle counted in four matras, and it is often used for simple rhythmic exercises and introductory pakhawaj accompaniment. Its brevity makes it a starting point for beginners learning to keep tala with the hand.

Question 42Tala System and Rhythmic Cycles in Odissi Music

The Odissi cycle Khemta is most commonly counted with how many matras?

  1. 14
  2. 10
  3. 6 Correct answer.
  4. 8

Explanation

Khemta is a six-matra cycle widely used for lighter, lilting compositions in Odissi music. Its six-beat frame supports a graceful, swaying feel that suits abhinaya and lighter dance items.

Question 43Tala System and Rhythmic Cycles in Odissi Music

Which tala is counted as a fourteen-matra cycle in Odissi music?

  1. Ekatali
  2. Aditala
  3. Khemta
  4. Jhampatala Correct answer.

Explanation

Jhampatala is a fourteen-matra cycle and is associated with particular vibhagas and tali-khali placements. Its length allows extended rhythmic phrasing, so it appears in more elaborate compositions.

Question 44Tala System and Rhythmic Cycles in Odissi Music

In Odissi tala terminology, what does the term 'khali' indicate?

  1. The fastest tempo layer of a composition
  2. The final beat that closes the cycle
  3. The first beat that opens the cycle
  4. An empty or unmarked beat shown by a specific hand gesture Correct answer.

Explanation

Khali marks a beat kept without a sounding stroke, shown by a distinct hand position, and it contrasts with tali. Composers use khali to create a sense of lift and to shape phrasing across the cycle.

Question 45Tala System and Rhythmic Cycles in Odissi Music

What is the term for the first beat of a tala cycle, on which the rhythmic structure is anchored?

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

Explanation

Sam is the first and principal beat of the cycle, and compositions commonly resolve onto it. Performers signal sam clearly so that melodic and rhythmic lines arrive together.

Question 46Tala System and Rhythmic Cycles in Odissi Music

The term 'vibhaga' in Odissi tala refers to which element of a cycle?

  1. A single stroke played on the pakhawaj head
  2. A division or section of the cycle marked by tali or khali Correct answer.
  3. The tuning pitch of the pakhawaj
  4. A type of melodic ornament in Odissi song

Explanation

Vibhaga means a section into which a tala cycle is divided, and each division is marked by a tali or khali. Understanding vibhaga helps a performer place strokes and phrases correctly within the cycle.

Question 47Tala System and Rhythmic Cycles in Odissi Music

Which pair of terms describes the two hands' basic roles when a pakhawaj player marks the tala?

  1. Right hand only for khali beats
  2. Right hand for the daya and left hand for the baya Correct answer.
  3. Both hands only for the baya
  4. Left hand only for tali beats

Explanation

The pakhawaj is played with the right hand on the daya head and the left hand on the baya head, and the two combine to produce the bols of a tala. This division of labour underlies all accompaniment patterns.

Question 48Tala System and Rhythmic Cycles in Odissi Music

In Odissi music, the term 'laya' refers to which aspect of performance?

  1. The ornamentation of a melodic line
  2. The number of matras in a cycle
  3. The pitch of the singer's tonic
  4. Tempo or speed of the rhythmic cycle Correct answer.

Explanation

Laya denotes tempo, and Odissi performance distinguishes slow, medium and fast laya, sometimes layered against each other. Control of laya is essential because the same tala cycle can be rendered at very different speeds.

Question 49Tala System and Rhythmic Cycles in Odissi Music

A composition is set in a cycle of eight matras divided into two vibhagas of four matras each. Which tala does this describe?

  1. Jhampatala
  2. Ekatali
  3. Khemta
  4. Aditala Correct answer.

Explanation

Aditala is an eight-matra cycle commonly divided into two equal sections of four matras. Recognising the division helps the performer place tali and khali correctly while accompanying a composition.

Question 50Tala System and Rhythmic Cycles in Odissi Music

In a six-matra Khemta cycle, a performer wishes to mark khali once. Which beat is most appropriately treated as khali in the common arrangement?

  1. The second matra
  2. The first matra
  3. The sixth matra
  4. The fourth matra Correct answer.

Explanation

In the common Khemta arrangement the first beat is sam and the fourth matra is kept as khali, giving the cycle its characteristic lilt. This placement shapes the phrasing of lighter compositions.