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KSEAB SSLC Carnatic Music study materials
KSEAB SSLC Carnatic Music study resources

KSEAB SSLC Carnatic Music practice questions

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Question 1Raga Lakshana (characteristics of ragas)

In Carnatic raga lakshana, what is the term for the characteristic phrases that reveal a raga's identity and are essential to its exposition?

  1. Gamaka
  2. Vakra prayoga
  3. Graha swara
  4. Pakad Correct answer.

Explanation

The pakad (also called raga chaya swara phrases) is the set of characteristic melodic phrases that instantly identify a raga. In Carnatic practice these catch-phrases anchor alapana and tanam so listeners recognise the raga even without a stated name. They differ from mere scale, which alone cannot define a raga.

Question 2Raga Lakshana (characteristics of ragas)

The seven notes of a melakarta raga are denoted by which set of names?

  1. Shadja, Madhyama, Panchama, Dhaivata, Nishada, Kakali, Kaisiki
  2. Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, Nishada Correct answer.
  3. Shadja, Rishabha, Gandhara, Panchama, Dhaivata, Nishada, Atitara
  4. Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, Nishada, Shadja

Explanation

The svarasthanas are Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, and Nishada, commonly abbreviated Sa, Ri, Ga, Ma, Pa, Da, Ni. These seven positions form the saptaswara framework on which every melakarta scale is built. Variants such as shuddha, chatushruti, and prati arise within these positions.

Question 3Raga Lakshana (characteristics of ragas)

A raga that uses exactly the seven notes in ascending order without skipping or zig-zag movement is described as which type of scale?

  1. Shadava
  2. Vakra
  3. Audava
  4. Sampurna Correct answer.

Explanation

Sampurna denotes a scale containing all seven notes. When the arohana moves straight through the seven svaras without omission, the raga is sampurna in that direction. Shadava and audava refer to six- and five-note scales respectively.

Question 4Raga Lakshana (characteristics of ragas)

Which term describes a raga whose arohana and avarohana contain the same notes in the same order?

  1. Shadava raga
  2. Vakra raga
  3. Audava raga
  4. Sampurna raga Correct answer.

Explanation

When arohana and avarohana both contain all seven notes in the same sequence, the raga is described as sampurna. Melakarta ragas are sampurna by definition. Vakra, shadava, and audava describe other structural patterns rather than this symmetry.

Question 5Raga Lakshana (characteristics of ragas)

In Carnatic music, the term 'arohana' refers to which aspect of a raga?

  1. The ascending sequence of svaras Correct answer.
  2. The characteristic oscillation of a svara
  3. The starting svara of a composition
  4. The descending sequence of svaras

Explanation

Arohana is the ascending order of svaras that defines the upper path of a raga. Avarohana is its descending counterpart. Together they fix the scale structure and are the first items given in any raga lakshana description.

Question 6Raga Lakshana (characteristics of ragas)

Which of the following is a janya raga of Mayamalavagowla?

  1. Kalyani
  2. Shankarabharanam
  3. Bowli Correct answer.
  4. Hanumatodi

Explanation

Bowli is a janya raga derived from the 15th melakarta, Mayamalavagowla. Janya ragas take their svara material from a parent melakarta but may omit or reorder notes. Kalyani is the 65th melakarta and Shankarabharanam the 29th, so neither can be a janya of Mayamalavagowla.

Question 7Raga Lakshana (characteristics of ragas)

Which statement correctly describes the relationship between a melakarta raga and its janya ragas?

  1. A melakarta derives its svaras from its janya ragas
  2. A melakarta must contain fewer than seven svaras
  3. A janya raga derives its svaras from a melakarta but may omit or reorder them Correct answer.
  4. A janya raga must contain all seven svaras in both directions

Explanation

Melakarta ragas are the 72 parent scales, each sampurna and containing all seven svaras. Janya ragas are derived from a parent melakarta and may be shadava, audava, or vakra in one or both directions. This parent-child relation organises the entire raga system.

Question 8Raga Lakshana (characteristics of ragas)

In which raga is the phrase 'ma ga ri sa' with a characteristic oscillation on the Gandhara most strongly associated with its identity?

  1. Shankarabharanam
  2. Kharaharapriya
  3. Kalyani
  4. Mayamalavagowla Correct answer.

Explanation

Mayamalavagowla is distinguished by its oscillation on Ga and the characteristic descent ma ga ri sa. This raga is also the first taught to beginners because of its symmetrical structure. Kalyani and Shankarabharanam have different svara placements and characteristic phrases.

Question 9Raga Lakshana (characteristics of ragas)

The term 'vakra' in a raga's lakshana indicates which feature?

  1. Zig-zag or out-of-order movement of svaras Correct answer.
  2. Omission of a svara from the scale
  3. The presence of all seven svaras
  4. The use of only five svaras

Explanation

Vakra prayoga means the svaras move in a non-linear, zig-zag order rather than straight ascending or descending sequence. Ragas such as Kalyani and Kambhoji use vakra phrases as part of their identity. Omission of svaras is described by shadava or audava, not vakra.

Question 10Raga Lakshana (characteristics of ragas)

Which svara is described as 'achala' because it has no variant position in the Carnatic system?

  1. Gandhara
  2. Shadja Correct answer.
  3. Dhaivata
  4. Rishabha

Explanation

Shadja and Panchama are achala svaras, meaning they have a single fixed position with no variants. Rishabha, Gandhara, Madhyama, Dhaivata, and Nishada each have multiple positions. This fixed nature makes Sa and Pa stable reference points in all ragas.

Question 11Raga Lakshana (characteristics of ragas)

Which pair of svaras is fixed and therefore present in every raga that uses sampurna or shadava scales?

  1. Madhyama and Nishada
  2. Shadja and Panchama Correct answer.
  3. Rishabha and Dhaivata
  4. Gandhara and Nishada

Explanation

Shadja and Panchama are achala, having only one position each, so they appear unchanged in every raga that includes them. All other svaras have variant positions that differ between ragas. This is why Sa and Pa serve as stable anchors in tuning and in alapana.

Question 12Raga Lakshana (characteristics of ragas)

A raga whose arohana uses six svaras while its avarohana uses seven is classified as which jati?

  1. Shadava-sampurna Correct answer.
  2. Sampurna-audava
  3. Audava-sampurna
  4. Sampurna-shadava

Explanation

Jati names follow the order arohana then avarohana. Six notes ascending and seven descending is therefore shadava-sampurna. The reverse pattern, seven ascending and six descending, would be sampurna-shadava.

Question 13Raga Lakshana (characteristics of ragas)

Which feature most directly distinguishes the raga Kalyani from Shankarabharanam?

  1. Kalyani uses prati madhyama while Shankarabharanam uses shuddha madhyama Correct answer.
  2. Kalyani omits Panchama while Shankarabharanam includes it
  3. Kalyani has no Rishabha while Shankarabharanam includes it
  4. Kalyani uses only five svaras while Shankarabharanam uses seven

Explanation

Both ragas are sampurna and share most svaras, but Kalyani takes prati madhyama (the raised fourth) whereas Shankarabharanam takes shuddha madhyama. This single svara difference changes the entire melodic character. Both retain Panchama and both are seven-note scales.

Question 14Raga Lakshana (characteristics of ragas)

In raga lakshana, the term 'nyasa swara' refers to which concept?

  1. A svara that is omitted from the avarohana
  2. A svara on which phrases come to rest and which reveals the raga's character Correct answer.
  3. The highest svara reached in the arohana
  4. The svara used to begin the tanam

Explanation

Nyasa svaras are the resting notes where phrases settle, and they strongly shape a raga's identity and emotional colour. They differ from graha swara, the starting note, and from the highest note of the scale. Careful use of nyasa svaras is central to convincing alapana.

Question 15Raga Lakshana (characteristics of ragas)

Which of these is an example of an audava raga?

  1. Mohanam Correct answer.
  2. Hanumatodi
  3. Shankarabharanam
  4. Kalyani

Explanation

Mohanam is an audava raga using five svaras, omitting Gandhara and Nishada in both directions. Kalyani, Shankarabharanam, and Hanumatodi are all sampurna melakarta ragas with seven notes. The pentatonic structure gives Mohanam its open, bright character.

Question 16Raga Lakshana (characteristics of ragas)

The concept of 'graha swara' in raga lakshana refers to which element?

  1. The highest note of the arohana
  2. The svara on which a composition or phrase begins Correct answer.
  3. The svara that is omitted from the scale
  4. The characteristic oscillation of a note

Explanation

Graha swara is the starting note from which a composition or melodic phrase takes off. It may differ from the nyasa svara where phrases rest. Both concepts help describe how a raga is handled in practice.

Question 17Raga Lakshana (characteristics of ragas)

Why are melakarta ragas required to be sampurna in both arohana and avarohana?

  1. To make each melakarta identical to its janya ragas
  2. To ensure every melakarta contains a prati madhyama
  3. To provide a complete seven-note parent scale from which janya ragas can be derived Correct answer.
  4. To guarantee that every melakarta omits Panchama

Explanation

The 72 melakarta scheme uses sampurna scales so that each parent contains the full seven svaras, from which janya ragas may then drop or reorder notes. This gives a complete and systematic classification. Not all melakartas use prati madhyama, and Panchama is never omitted in a melakarta.

Question 18Raga Lakshana (characteristics of ragas)

Which statement about the raga Mohanam is correct?

  1. It is a sampurna raga including all seven svaras
  2. It is an audava raga omitting Gandhara and Nishada Correct answer.
  3. It is a vakra raga with zig-zag arohana
  4. It is a shadava raga omitting only Nishada

Explanation

Mohanam uses five svaras, Sa Ri Ga Pa Da, omitting Gandhara and Nishada, making it audava. Its pentatonic structure gives it a distinctive open character. It is not sampurna, not shadava, and its basic scale is straight rather than vakra.

Question 19Raga Lakshana (characteristics of ragas)

In the context of raga lakshana, what does 'gamaka' describe?

  1. The parent melakarta of a janya raga
  2. The number of svaras in a scale
  3. Ornamental oscillation or deflection applied to a svara Correct answer.
  4. The starting svara of a composition

Explanation

Gamaka refers to the ornamental treatments such as oscillation, glide, and deflection applied to svaras. Different ragas require specific gamakas, and this is a major part of raga identity. Gamaka is distinct from scale structure and from starting-note concepts.

Question 20Raga Lakshana (characteristics of ragas)

Which raga is traditionally the first taught to beginners and is the 15th melakarta?

  1. Kharaharapriya
  2. Kalyani
  3. Mayamalavagowla Correct answer.
  4. Shankarabharanam

Explanation

Mayamalavagowla is the 15th melakarta and is used for the initial sarali and janti varisai exercises. Its symmetrical structure and clear svara positions make it ideal for beginners. Kalyani, Shankarabharanam, and Kharaharapriya are later melakartas taught after the fundamentals.

Question 21Raga Lakshana (characteristics of ragas)

What is the correct order of the 72 melakarta ragas divided into two groups?

  1. The first 36 use shuddha madhyama and the next 36 use prati madhyama Correct answer.
  2. All 72 use only prati madhyama
  3. The first 36 use prati madhyama and the next 36 use shuddha madhyama
  4. All 72 use both madhyamas equally

Explanation

The melakarta scheme is divided so that melakartas 1 to 36 take shuddha madhyama and 37 to 72 take prati madhyama. Within each group, the other svaras vary systematically. This division makes the scheme orderly and easy to memorise.

Question 22Raga Lakshana (characteristics of ragas)

A raga uses Sa Ri Ga Ma Pa Da Ni in arohana but in avarohana proceeds Ni Da Pa Ma Ga Ri Sa with an additional zig-zag phrase Ma Ga Ri Ga. Which lakshana feature does the added phrase illustrate?

  1. Audava jati
  2. Vakra prayoga Correct answer.
  3. Achala svara
  4. Graha swara

Explanation

The extra zig-zag phrase Ma Ga Ri Ga breaks the straight descending order, which is vakra prayoga. Vakra phrases often carry a raga's identity even when the basic scale is sampurna. Audava would mean only five svaras, which is not the case here.

Question 23Raga Lakshana (characteristics of ragas)

Which combination correctly matches a raga with its jati classification?

  1. Mohanam sampurna, Hindolam shadava, Kalyani audava
  2. Mohanam audava, Hindolam audava, Kalyani sampurna Correct answer.
  3. Mohanam shadava, Hindolam sampurna, Kalyani shadava
  4. Mohanam audava, Hindolam sampurna, Kalyani audava

Explanation

Mohanam and Hindolam are both audava ragas using five svaras, while Kalyani is a sampurna melakarta with seven. Matching jati to raga requires counting the svaras actually used in each direction. The other combinations misstate the note counts.

Question 24Raga Lakshana (characteristics of ragas)

In raga lakshana, why can two ragas share the same scale yet sound clearly different?

  1. Because their characteristic phrases, gamakas, and nyasa svaras differ Correct answer.
  2. Because one of them must omit Panchama
  3. Because one of them must be a melakarta
  4. Because one of them must use prati madhyama

Explanation

Scale alone does not define a raga; characteristic phrases, gamaka treatment, and resting notes create its distinct identity. Ragas with identical svara sets can therefore sound entirely different in practice. This is why lakshana descriptions include prayogas beyond the arohana and avarohana.

Question 25Raga Lakshana (characteristics of ragas)

Which statement about the svara Nishada in Carnatic music is accurate?

  1. It has only one fixed position
  2. It has three positions: shuddha, chatushruti, and shatshruti Correct answer.
  3. It has two positions: shuddha and prati
  4. It is identical to Kakali in all ragas

Explanation

Nishada has three positions, namely shuddha, chatushruti, and shatshruti, giving ragas considerable colour variation. Kakali is one of these positions rather than a synonym for all of them. Only Shadja and Panchama are fixed with a single position.

Question 26Raga Lakshana (characteristics of ragas)

In Carnatic raga lakshana, a raga whose arohana and avarohana each use only five svaras is classified by which jati term?

  1. Svarantara
  2. Sampurna
  3. Audava Correct answer.
  4. Shadava

Explanation

Jati classification counts the svaras used in each direction. Five svaras in a scale is termed audava, six is shadava, and seven is sampurna. A raga with five in both directions is therefore audava jati.

Question 27Raga Lakshana (characteristics of ragas)

A raga's arohana ascends Sa Ri Ma Pa Da Sa while its avarohana descends Sa Da Pa Ma Ri Sa, with Ga and Ni absent in both directions. Which statement about this raga is accurate?

  1. It is sampurna jati with Ga and Ni as hidden svaras
  2. It is shadava jati because one svara is omitted
  3. It is audava jati and omits Gandhara and Nishada entirely Correct answer.
  4. It is a vakra raga because the descent skips svaras

Explanation

Counting the svaras in each direction gives five: Sa, Ri, Ma, Pa, Da. Five svaras in both arohana and avarohana makes the raga audava jati, and the omitted svaras are Ga and Ni. Omitting svaras does not by itself create vakra movement.

Question 28Raga Lakshana (characteristics of ragas)

In raga lakshana, which term denotes the svara on which a raga's phrases most naturally come to rest, giving the raga its sense of conclusion?

  1. Amsa svara
  2. Nyasa svara Correct answer.
  3. Graha svara
  4. Vadi svara

Explanation

Nyasa svara is the resting or concluding svara of a phrase, and different ragas favour different nyasa svaras. This resting quality shapes the raga's identity in performance. Graha concerns the starting svara, which is a separate concept.

Question 29Raga Lakshana (characteristics of ragas)

Two ragas share an identical set of svaras, yet experienced listeners identify them as different ragas. Which explanation best fits raga lakshana?

  1. Their jati classifications must differ, since identical scales cannot share a jati
  2. Their phrases, gamakas and nyasa svaras differ, giving each a distinct melodic personality Correct answer.
  3. Their talas differ, and tala is what identifies a raga
  4. Their melakarta numbers differ, which alone determines how they sound

Explanation

Raga identity rests on lakshana beyond the bare scale: characteristic phrases, gamaka treatment, and resting svaras. Two ragas may share a scale yet be sung and experienced differently because of these factors. Scale alone does not fix a raga's character.

Question 30Raga Lakshana (characteristics of ragas)

A raga's arohana is Sa Ri Ga Ma Pa Da Ni Sa, but its avarohana proceeds Sa Ni Da Pa Ma Ga Ri Sa with Ga and Ri each approached through a curved, oscillating movement rather than a plain descent. Which lakshana feature does this avarohana illustrate?

  1. Svarantara avarohana using only four svaras
  2. Audava avarohana with two svaras omitted
  3. Vakra avarohana combined with gamaka on Gandhara and Rishabha Correct answer.
  4. Sampurna avarohana with no special movement

Explanation

The descent uses all seven svaras but bends the approach to Ga and Ri, which is vakra (zig-zag) movement embellished by gamaka. Vakra describes non-linear order, while gamaka describes the oscillating treatment of a svara. Together they give the avarohana its distinctive shape.

Question 31Tala System and Alankaras

In the Carnatic tala system, how many alankaras are traditionally taught as the foundational set?

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

Explanation

The standard set of alankaras taught to beginners contains seven exercises, one for each of the seven principal talas. They are practised in the sequence Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata and Eka. Learning all seven gives the student direct experience of every suladi tala.

Question 32Tala System and Alankaras

The seven alankaras are composed in the seven suladi talas. Which of these is one of the suladi talas?

  1. Adi
  2. Misra Chapu
  3. Dhruva Correct answer.
  4. Khanda Chapu

Explanation

The suladi sapta talas are Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata and Eka. Adi is a popular name for Triputa tala with a specific jati, while Chapu talas are a separate family. Dhruva is therefore the only suladi tala listed.

Question 33Tala System and Alankaras

Each of the seven alankaras begins with the same solfa phrase. Which phrase is it?

  1. S R G M P
  2. S R G M
  3. S R G M P D N
  4. S R G M P D Correct answer.

Explanation

Every alankara starts on the ascending phrase S R G M P D and then continues in a pattern determined by the tala. The first alankara uses the full arohana and avarohana, while later ones use partial phrases. This shared opening makes the set easy to recognise as a family.

Question 34Tala System and Alankaras

In tala terminology, what does the word 'angas' refer to?

  1. The syllables used in solfa singing
  2. The speed levels of a composition
  3. The constituent sections of a tala Correct answer.
  4. The melodic phrases of a raga

Explanation

Angas are the structural limbs or sections that make up a tala, such as laghu, drutam and anudrutam. Each anga carries a fixed number of aksharas depending on its type and, for laghu, its jati. Understanding angas is essential for calculating the total length of any tala.

Question 35Tala System and Alankaras

Which anga is counted with a single beat and has no subdivisions?

  1. Plutam
  2. Laghu
  3. Drutam
  4. Anudrutam Correct answer.

Explanation

The anudrutam is a single akshara shown by one beat and is the shortest anga. Laghu and drutam both carry more than one akshara in counting. Plutam is a longer anga used in the extended shadangas.

Question 36Tala System and Alankaras

What is the jati of a laghu that is counted with a beat followed by four finger counts?

  1. Khanda Correct answer.
  2. Misra
  3. Chaturasra
  4. Tisra

Explanation

The jati of a laghu is found by adding one to the number of finger counts. Four finger counts give five aksharas in total, and five is khanda jati. Tisra gives three, chaturasra four and misra seven.

Question 37Tala System and Alankaras

How many aksharas are there in a drutam?

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

Explanation

A drutam is shown by a beat followed by a wave, so it always contains two aksharas regardless of jati. Unlike the laghu, it does not change length with the jati. This fixed value simplifies tala calculations.

Question 38Tala System and Alankaras

The term 'akshara' in the Carnatic tala system refers to which unit?

  1. A section of a varnam
  2. A note of the raga scale
  3. A line of sahitya in a kriti
  4. A single counted beat-syllable of the tala cycle Correct answer.

Explanation

An akshara is the basic counting unit of a tala, corresponding to one beat position in the cycle. The total length of a tala is expressed as a number of aksharas. It is distinct from melodic or lyrical units.

Question 39Tala System and Alankaras

In chaturasra jati Triputa tala, what is the order of angas?

  1. Drutam, laghu, drutam
  2. Laghu, drutam, drutam Correct answer.
  3. Laghu, laghu, drutam
  4. Laghu, anudrutam, drutam

Explanation

Triputa tala consists of one laghu followed by two drutams, in that order. Its length depends on the jati of the laghu, so chaturasra jati gives 4 + 2 + 2 = 8 aksharas. This is the structure known popularly as Adi tala.

Question 40Tala System and Alankaras

How many aksharas are there in khanda jati Jhampa tala?

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

Explanation

Jhampa tala is built as laghu, anudrutam, drutam. Khanda jati gives a laghu of five aksharas, and the anudrutam and drutam contribute one and two respectively. The total is 5 + 1 + 2 = 9 aksharas.

Question 41Tala System and Alankaras

A laghu in misra jati is followed by two drutams in Rupaka tala. What is the total akshara count?

  1. Ten
  2. Eleven Correct answer.
  3. Thirteen
  4. Nine

Explanation

Rupaka tala consists of one laghu and one drutam. Misra jati gives a laghu of seven aksharas, and the drutam adds two. The total is 7 + 2 = 9 aksharas, so the correct count is nine.

Question 42Tala System and Alankaras

Which jati of Eka tala contains exactly eleven aksharas?

  1. Sankeerna Correct answer.
  2. Chaturasra
  3. Khanda
  4. Tisra

Explanation

Eka tala has a single laghu, so its length equals the laghu's jati count. Sankeerna jati gives a laghu of nine aksharas, which is the longest standard jati. None of the shorter jatis reaches eleven.

Question 43Tala System and Alankaras

The seven alankaras are traditionally sung in which order of talas?

  1. Rupaka, Jhampa, Triputa, Ata, Eka, Dhruva, Matya
  2. Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata, Eka Correct answer.
  3. Eka, Ata, Triputa, Jhampa, Rupaka, Matya, Dhruva
  4. Triputa, Dhruva, Eka, Matya, Ata, Rupaka, Jhampa

Explanation

The conventional teaching order follows the suladi sequence beginning with Dhruva and ending with Eka. Students learn the longer, more complex talas first so that the simpler ones follow naturally. This fixed order is part of the standard alankara curriculum.

Question 44Tala System and Alankaras

In the alankara set, the exercise in Ata tala is notable for which structural feature?

  1. It contains three laghus
  2. It contains a single laghu
  3. It contains two laghus and two drutams Correct answer.
  4. It contains only drutams

Explanation

Ata tala is made of two laghus followed by two drutams, giving a distinctive long pattern. In the alankara set it is usually taken in khanda jati. The resulting length of 5 + 5 + 2 + 2 = 14 aksharas makes it one of the longer exercises.

Question 45Tala System and Alankaras

When an alankara is sung in two kalas, how does the second kala relate to the first?

  1. The tala cycle is lengthened to double its aksharas
  2. The jati of the laghu is reduced by one
  3. The raga is changed to the next melakarta
  4. Each akshara is filled with twice as many syllables Correct answer.

Explanation

The second kala doubles the speed of singing while the tala cycle keeps the same aksharas. Each akshara therefore accommodates twice as many syllables as in the first kala. The structure of the tala itself remains unchanged.

Question 46Tala System and Alankaras

Which pair correctly matches an anga with the way it is shown by hand?

  1. Drutam - beat and wave Correct answer.
  2. Laghu - wave only
  3. Drutam - beat and finger counts
  4. Anudrutam - beat and wave

Explanation

The drutam is shown by a beat of the palm followed by a wave of the hand, giving two aksharas. The laghu uses a beat followed by finger counts, and the anudrutam uses a single beat. Matching gesture to anga is fundamental to keeping tala accurately.

Question 47Tala System and Alankaras

A composition is set in chaturasra jati Triputa tala. How many aksharas does one full cycle contain?

  1. Seven
  2. Eight Correct answer.
  3. Six
  4. Fourteen

Explanation

Triputa tala has one laghu and two drutams. Chaturasra jati gives a laghu of four aksharas, and the two drutams add four more. The total is 4 + 2 + 2 = 8 aksharas per cycle.

Question 48Tala System and Alankaras

Which statement correctly distinguishes jati from gati in the tala system?

  1. Jati describes speed, while gati fixes the length of a laghu
  2. Jati applies only to drutam, while gati applies only to laghu
  3. Jati fixes the length of a laghu, while gati describes the speed or subdivision Correct answer.
  4. Jati and gati are two names for the same concept

Explanation

Jati is the class of a laghu, such as tisra or khanda, and determines how many aksharas it holds. Gati relates to the speed or rhythmic subdivision at which the tala moves. Keeping the two terms apart prevents confusion in tala calculations.

Question 49Tala System and Alankaras

In the first alankara, the phrase is sung ascending and then descending through the scale. What is this pair of movements called?

  1. Arohana and avarohana Correct answer.
  2. Vakra and straight
  3. Sthayi and sanchari
  4. Purvanga and uttaranga

Explanation

Arohana is the ascending order of notes and avarohana is the descending order. The first alankara moves up the scale and then back down, exercising both. The other pairs describe different musical ideas entirely.

Question 50Tala System and Alankaras

An alankara in khanda jati Ata tala is counted. What is the total number of aksharas in one cycle?

  1. Twelve
  2. Fourteen Correct answer.
  3. Sixteen
  4. Eighteen

Explanation

Ata tala consists of two laghus and two drutams. Khanda jati gives each laghu five aksharas, so the laghus total ten, and the two drutams add four. The cycle therefore contains 5 + 5 + 2 + 2 = 14 aksharas.