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KSEAB SSLC Hindustani Music study materials
KSEAB SSLC Hindustani Music study resources

KSEAB SSLC Hindustani Music practice questions

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Question 1Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

In Hindustani sangeet, how many shuddha svaras are counted in the saptak, and which note names are they?

  1. Five: Sa, Re, Ga, Pa, Ni
  2. Twelve: all positions including komal and tivra forms
  3. Six: Sa, Re, Ga, Ma, Pa, Dha
  4. Seven: Sa, Re, Ga, Ma, Pa, Dha, Ni Correct answer.

Explanation

The saptak contains seven shuddha svaras: Sa, Re, Ga, Ma, Pa, Dha and Ni. The komal and tivra forms are vikrit svaras added to these seven positions, not replacements for them. The full chromatic set of twelve positions arises only when vikrit svaras are included.

Question 2Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which svara is regarded as fixed (achala) in Hindustani music and therefore has no komal or tivra form?

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

Explanation

Sa and Pa are treated as achala svaras, so they are sung at fixed pitch positions without komal or tivra variants. Re, Ga, Dha and Ni each have a komal form, while Ma alone has a tivra form. This is why tuning and tanpura practice centre on Sa.

Question 3Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which svara of the saptak takes a tivra (raised) form in Hindustani music?

  1. Ga
  2. Ma Correct answer.
  3. Dha
  4. Ni

Explanation

Only Ma has a tivra form, written as tivra Ma and placed a semitone above shuddha Ma. The svaras Re, Ga, Dha and Ni instead take komal (lowered) forms. This asymmetry is a defining feature of the Hindustani svara system.

Question 4Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga uses Sa, komal Re, Ga, Ma, Pa, komal Dha and komal Ni. Which thaat does this set of svaras match?

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

Explanation

Bhairavi thaat contains komal Re, Ga, Dha and Ni with shuddha Ma, giving the pattern komal Re, komal Ga, shuddha Ma, shuddha Pa, komal Dha, komal Ni. The set described differs only in having shuddha Ga, which is not Bhairavi. Four komal svaras with shuddha Ma is the identifying mark of Bhairavi thaat.

Question 5Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which thaat is obtained by lowering Ga and Ni while keeping all other svaras shuddha?

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

Explanation

Kafi thaat is defined by komal Ga and komal Ni with the remaining svaras shuddha. Khamaj instead lowers Ni only, and Bilawal uses all shuddha svaras. Bhairav lowers Re and Dha, so it does not fit the described pattern.

Question 6Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

How many thaats are recognised in the thaat system associated with Pt. Vishnu Narayan Bhatkhande?

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

Explanation

Bhatkhande's thaat system groups ragas under ten thaats, each a seven-note scale pattern. Twelve is the number of chromatic positions in the saptak, not the number of thaats. Seven is the number of svaras in the saptak, so both figures refer to different concepts.

Question 7Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

In which thaat do all seven svaras appear in shuddha form?

  1. Marwa
  2. Bilawal Correct answer.
  3. Kalyan
  4. Purvi

Explanation

Bilawal thaat is the all-shuddha scale, using Sa, Re, Ga, Ma, Pa, Dha and Ni without any komal or tivra alteration. Kalyan raises Ma to tivra, while Marwa and Purvi also use tivra Ma with additional komal svaras. Bilawal therefore serves as the reference for the pure shuddha set.

Question 8Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which thaat is characterised by tivra Ma together with komal Re and komal Dha?

  1. Purvi Correct answer.
  2. Kafi
  3. Todi
  4. Khamaj

Explanation

Purvi thaat combines tivra Ma with komal Re and komal Dha, keeping Ga, Pa and Ni shuddha. Todi also uses tivra Ma and komal Re but lowers Ga and Dha, giving a different pattern. The presence of komal Re and komal Dha alongside tivra Ma identifies Purvi.

Question 9Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga's scale uses Sa, Re, Ga, tivra Ma, Pa, Dha and Ni. Under which thaat is it classified?

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

Explanation

Kalyan thaat is the scale with tivra Ma and all other svaras shuddha. The described set matches that pattern exactly, so the raga belongs to Kalyan thaat. Bilawal has shuddha Ma, Khamaj lowers Ni, and Asavari lowers Ga, Dha and Ni.

Question 10Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which statement correctly distinguishes a thaat from a raga?

  1. A thaat is a seven-note scale framework, while a raga has its own vadi, samvadi, aroha, avaroha and characteristic phrases. Correct answer.
  2. A thaat may have five or six notes, while a raga always has seven notes.
  3. A thaat is a melodic form with vadi, samvadi and time of performance, while a raga is only a scale.
  4. A thaat is sung only in the evening, while a raga may be sung at any time.

Explanation

A thaat is essentially a scale of seven svaras used for classification, without vadi, samvadi or prescribed time. A raga is a melodic entity that adds aroha, avaroha, vadi, samvadi and pakad to a tonal material. This is why several ragas can share one thaat while remaining distinct.

Question 11Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

In raga terminology, what does aroha refer to?

  1. The set of characteristic phrases of the raga
  2. The descending movement of the raga
  3. The ascending order of svaras in the raga Correct answer.
  4. The principal note on which the raga rests

Explanation

Aroha is the ascending sequence of svaras used in a raga, while avaroha is the descending sequence. Pakad refers to characteristic catch-phrases, and vadi is the principal note. Aroha and avaroha together describe the raga's melodic path.

Question 12Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

What is the vadi svara of a raga?

  1. The most prominent and frequently emphasised note Correct answer.
  2. The lowest note of the raga's scale
  3. The note sung at the moment of conclusion
  4. The note that accompanies the vadi

Explanation

The vadi is the principal or most emphasised svara of a raga, around which its melodic personality revolves. The samvadi is the secondary important note that supports it. The concluding note is usually the sama or the nyasa svara, and the lowest note relates to the saptak rather than to vadi.

Question 13Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga's aroha uses Sa, Ga, Ma, Pa, Ni and its avaroha uses Sa, Ni, Dha, Pa, Ma, Ga, Re, Sa. What kind of jati does this raga have?

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

Explanation

Jati is described by counting svaras in aroha and avaroha separately. Five notes ascending give audava and seven descending give sampurna, so the raga is audava-sampurna. The order of the two terms follows aroha first, then avaroha.

Question 14Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga uses six svaras in aroha and six in avaroha. Which jati name applies?

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

Explanation

Shadava denotes a six-note usage in a direction, so six notes both ways gives shadava-shadava. Audava refers to five notes and sampurna to seven. Vakra describes a zigzag or non-linear movement, not a count of svaras.

Question 15Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which pair correctly matches a raga with its thaat?

  1. Malkauns with Kalyan thaat
  2. Bhairav with Bhairav thaat Correct answer.
  3. Yaman with Bilawal thaat
  4. Bhoopali with Kafi thaat

Explanation

Bhairav raga uses the same svara pattern as Bhairav thaat, with komal Re and komal Dha. Bhoopali is an audava raga of Kalyan thaat, Yaman belongs to Kalyan thaat, and Malkauns is grouped under Bhairavi thaat. Matching a raga to its thaat depends on the underlying scale pattern.

Question 16Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Raga Bhoopali uses Sa, Re, Ga, Pa and Dha. Which statement about it is correct?

  1. It is an audava raga of Kalyan thaat. Correct answer.
  2. It is a shadava raga of Khamaj thaat.
  3. It is an audava raga of Bhairav thaat.
  4. It is a sampurna raga of Bilawal thaat.

Explanation

Bhoopali omits Ma and Ni, leaving five svaras, so its jati is audava. The svaras it uses are all shuddha except that the raga is traditionally placed under Kalyan thaat because of its tonal character. The five-note scale and Kalyan association together identify it.

Question 17Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Raga Malkauns is built on which set of svaras?

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

Explanation

Malkauns is an audava raga using Sa, komal Ga, shuddha Ma, komal Dha and komal Ni, with Re and Pa omitted. The option listing Sa, Ga, Ma, Dha and Ni represents those positions in shorthand. Its omission of Pa and its three komal svaras are its identifying features.

Question 18Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which raga is described as a sampurna raga of Kalyan thaat sung in the first prahar of the night?

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

Explanation

Yaman uses all seven svaras with tivra Ma and is associated with Kalyan thaat and the first prahar of the night. Bhairav is a morning raga, and Bhimpalasi is sung in the afternoon. Bhoopali is an audava raga rather than sampurna.

Question 19Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A student sings a raga in which Ma is raised and Re and Dha are lowered, while Ga, Pa and Ni remain shuddha. Which thaat does this indicate?

  1. Marwa
  2. Purvi Correct answer.
  3. Bhairav
  4. Todi

Explanation

Purvi thaat is defined by tivra Ma together with komal Re and komal Dha, with Ga, Pa and Ni shuddha. Todi adds komal Ga to this pattern, and Marwa has no Pa. Bhairav uses shuddha Ma, so it cannot fit a description containing tivra Ma.

Question 20Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which statement about the placement of komal svaras is correct?

  1. Komal svaras are sung a semitone above their shuddha positions.
  2. Komal svaras are sung a semitone below their shuddha positions. Correct answer.
  3. Komal svaras are sung an octave above their shuddha positions.
  4. Komal svaras are sung at the same pitch as shuddha svaras.

Explanation

A komal svara is the lowered form of a shuddha svara, placed one semitone below it. Tivra Ma, by contrast, is raised one semitone above shuddha Ma. Komal forms exist for Re, Ga, Dha and Ni, while Sa and Pa remain fixed.

Question 21Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

In a raga, the svara sung immediately before the final resting note and lending it support is best described by which term?

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

Explanation

Nyasa refers to a svara on which a phrase or the raga comes to rest, and the note just before the final resting point supports that arrival. Samvadi is the second most important svara of the raga overall, and anuvadi are the remaining consonant svaras. Vivadi denotes a dissonant svara avoided in the raga.

Question 22Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which of these is a varja (omitted) svara pattern found in an audava raga?

  1. Six svaras present with one omitted
  2. All seven svaras present
  3. Five svaras present with two omitted Correct answer.
  4. Seven svaras with one sung only in avaroha

Explanation

Audava jati means five svaras are used in a direction, so two of the seven are varja or omitted. Six svaras with one omitted describes shadava jati. A svara appearing in only one direction is described as vakra or as a one-way usage, not as audava.

Question 23Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which pair of svaras is treated as achala (fixed) in Hindustani music?

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

Explanation

Sa and Pa are the two achala svaras, sung at fixed positions without komal or tivra variants. All other svaras can be altered: Re, Ga, Dha and Ni take komal forms and Ma takes tivra. This fixed quality is why Pa is often used alongside Sa in tanpura tuning.

Question 24Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga uses komal Ga, komal Dha and komal Ni, with shuddha Re and shuddha Ma. Which thaat does this match?

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

Explanation

Asavari thaat has komal Ga, komal Dha and komal Ni while Re and Ma remain shuddha. Kafi lowers only Ga and Ni, and Bhairavi additionally lowers Re. Todi uses tivra Ma with komal Re, which the description excludes.

Question 25Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which statement best explains why two ragas can share the same thaat yet sound clearly different?

  1. They differ in vadi, samvadi, aroha-avaroha and characteristic phrases such as pakad. Correct answer.
  2. They are always sung in different saptaks, one mandra and one taar.
  3. They must use different numbers of svaras in the saptak.
  4. They differ only in the tempo at which they are performed.

Explanation

A thaat supplies only the scale, so ragas sharing it are distinguished by their vadi, samvadi, ascending and descending paths, and signature phrases. These elements shape the melodic identity and the emphasis given to particular svaras. Register and tempo may vary in performance but do not define the raga.

Question 26Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

In Hindustani sargam, which svara is described as vikrit because it may be sung in komal form while Sa and Pa remain achala?

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

Explanation

Sa and Pa are achala, meaning they have no komal or tivra variants and stay fixed in every thaat. Re, Ga, Dha and Ni each have a shuddha and a komal form, so they are vikrit svaras. Ma alone has shuddha and tivra forms rather than komal.

Question 27Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A thaat is built by taking all seven svaras in a fixed ascending order. Which term describes a thaat in which every one of the seven svaras is present?

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

Explanation

Sampurna means complete with all seven svaras, and every thaat is by definition sampurna. Audava and shadava describe ragas with five and six svaras respectively. Varja refers to svaras that are omitted in a raga's movement.

Question 28Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A performer sings a raga whose aroha is Sa Re Ga Ma Pa Dha Ni Sa and whose avaroha is Sa Ni Dha Pa Ma Ga Re Sa. Which jati does this raga have?

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

Explanation

Jati is named by counting the svaras used in aroha and avaroha separately. Here both directions use all seven svaras, so the raga is sampurna in ascent and sampurna in descent. The label therefore reads sampurna-sampurna.

Question 29Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which svara is treated as the tonic reference point around which all other svaras of a raga are tuned and named?

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

Explanation

Sa is the adhara shadja, the tonic from which the whole scale is measured and to which the performer returns for rest. Every other svara is defined by its interval from Sa. Ma, Pa and Ga are all reckoned relative to this fixed tonic.

Question 30Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga omits Re and Dha entirely in both aroha and avaroha, using only Sa Ga Ma Pa Ni. Which jati label applies to it?

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

Explanation

Five svaras in each direction give the audava jati, and when both aroha and avaroha use five the label is audava-audava. Ragas such as Bhoopali and Malkauns follow this pattern. The count is made separately for each direction before combining the labels.

Question 31Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

In a raga, which svara is called the samvadi, and how does it relate to the vadi?

  1. The svara that is omitted to create a varja scale
  2. The second most important svara, usually a fourth or fifth from the vadi Correct answer.
  3. The tonic svara that stays fixed in every thaat
  4. The svara sung only in the avaroha and never in the aroha

Explanation

The vadi is the principal svara or king note of a raga, and the samvadi is the next in importance. The samvadi is conventionally placed a fourth or fifth away from the vadi, giving the raga a second strong pillar. Together they shape the raga's characteristic phrases.

Question 32Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga's phrases repeatedly linger on Ga and then glide down to Sa, while Ni is touched only in passing. Which term best describes Ga in this raga?

  1. Vadi Correct answer.
  2. Achala
  3. Varja
  4. Vakra

Explanation

The svara that receives the greatest emphasis and around which phrases revolve is the vadi. Frequent lingering on Ga and resolution toward Sa indicate that Ga carries the raga's main weight. Varja, achala and vakra describe omission, fixity and crooked movement rather than importance.

Question 33Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which svara is known as the anuvadi in relation to the vadi and samvadi of a raga?

  1. A supporting svara other than the vadi and samvadi Correct answer.
  2. The svara that is completely absent from the raga
  3. The tonic to which the performer returns
  4. The svara that is raised to tivra form

Explanation

Svaras in a raga are grouped by function: vadi is chief, samvadi is secondary, and the remaining svaras that assist the melodic shape are anuvadi. Vivadi svaras are the ones treated as dissonant and generally avoided. Anuvadi therefore covers the supporting notes beyond the two main pillars.

Question 34Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga uses shuddha Re, komal Ga, shuddha Ma, Pa, komal Dha and komal Ni. Which thaat does this scale match?

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

Explanation

Bhairavi takes komal Re, komal Ga, shuddha Ma, Pa, komal Dha and komal Ni, so every svara in the question matches it. Asavari differs by keeping shuddha Re and shuddha Ma with komal Ga, Dha and Ni. Kafi and Bhairav have different combinations of komal and shuddha svaras.

Question 35Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Which pair of svaras has no komal version and is therefore called achala in Hindustani theory?

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

Explanation

Achala means immovable: Sa and Pa keep a single position in all thaats and ragas. The vikrit svaras Re, Ga, Dha and Ni each have shuddha and komal forms, while Ma has shuddha and tivra forms. This is why only Sa and Pa are described as achala.

Question 36Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga's ascent skips Ga and its descent skips Re, while all other svaras appear in both directions. Which description fits this raga?

  1. Audava in both directions
  2. Vakra in both directions
  3. Sampurna in both directions
  4. Varja in both directions, with different svaras omitted in aroha and avaroha Correct answer.

Explanation

A varja raga omits one or more svaras, and the omission may differ between ascent and descent. Skipping Ga in aroha and Re in avaroha is exactly this kind of asymmetric varja pattern. Sampurna and audava would require seven and five svaras respectively in each direction.

Question 37Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

In which situation is a svara best described as vakra in a raga?

  1. When it is omitted from the avaroha only
  2. When it is the vadi of the raga
  3. When phrases use it out of the natural ascending or descending order Correct answer.
  4. When it is tuned as the tonic

Explanation

Vakra means crooked, and it applies when a raga's phrases jump or reverse direction instead of moving straight through the scale. For example, a phrase may touch Dha and then return to Ga before proceeding. Omission is a separate concept called varja.

Question 38Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga's scale contains tivra Ma with shuddha Re, Ga, Dha and Ni. Which thaat does this point to, and which raga of that thaat is sung in the first prahar of night?

  1. Kalyan thaat, with Yaman as a night raga Correct answer.
  2. Purvi thaat, with Puriya Dhanashri as a night raga
  3. Bilaval thaat, with Alhaiya Bilaval as a night raga
  4. Khamaj thaat, with Khamaj as a night raga

Explanation

Tivra Ma with all other svaras shuddha is the signature of Kalyan thaat. Yaman, the best-known raga of this thaat, is traditionally assigned to the first prahar of the night. Bilaval and Khamaj keep Ma shuddha, and Purvi adds komal Re and komal Dha.

Question 39Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

Two ragas belong to the same thaat and use identical svaras, yet sound unmistakably different. Which explanation best accounts for this?

  1. They belong to different thatas despite sharing the same scale
  2. They use different numbers of svaras in the thaat itself
  3. They are tuned to different tonics in the same performance
  4. They differ in vadi, samvadi, aroha-avaroha order and characteristic phrases Correct answer.

Explanation

A thaat is only a scale framework, while a raga is defined by its melodic behaviour. Vadi and samvadi, the order of svaras in aroha and avaroha, varja or vakra movement, and pakad phrases all give each raga its identity. Two ragas can therefore share a scale and still be distinct.

Question 40Hindustani Music Theory: Svar, Raga, and Scale Fundamentals

A raga uses komal Ga, shuddha Ma and komal Ni, with shuddha Re and shuddha Dha. Which thaat does this combination belong to?

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

Explanation

Kafi thaat has shuddha Re, komal Ga, shuddha Ma, Pa, shuddha Dha and komal Ni, which matches the svaras listed. Bhairavi would additionally lower Re and Dha, and Asavari would lower Dha. Khamaj keeps Ga and Ni shuddha, so it does not fit.

Question 41Notation Systems and Writing of Compositions (Svaralipi)

In Hindustani svaralipi, which symbol is placed above a svar to indicate that it belongs to the upper (tar) saptak?

  1. A dot below the svar
  2. A dot above the svar Correct answer.
  3. A horizontal line after the svar
  4. A comma after the svar

Explanation

The tar saptak is shown by placing a dot above the svar letter, so Sa with a dot above means the upper Sa. The mandra saptak uses a dot below, which keeps the two registers visually distinct in notation.

Question 42Notation Systems and Writing of Compositions (Svaralipi)

In the notation of a Khayal composition, which pair of symbols is used to mark the sam and the tali (other clap points) of the tala?

  1. An 'X' for sam and numbered marks such as 2, 3 for the other tali Correct answer.
  2. A cross for sam and a tilde for khali
  3. A dot for sam and a dash for tali
  4. A plus sign for sam and a zero for tali

Explanation

Standard practice marks sam with the symbol X and the remaining tali with their order numbers, while khali is shown by the cipher 0. This lets the performer see at a glance where the composition's syllables fall in the tala cycle.

Question 43Notation Systems and Writing of Compositions (Svaralipi)

Which symbol in svaralipi indicates that a svar is to be held (elongated) beyond its normal matra?

  1. A circle drawn around the svar
  2. A horizontal line drawn after the svar Correct answer.
  3. An underline beneath the svar
  4. A vertical line drawn before the svar

Explanation

A dash or horizontal line following a svar shows that the note is sustained for additional matras. The number of matras held is understood from the space it occupies in the tala grid.

Question 44Notation Systems and Writing of Compositions (Svaralipi)

In written svaralipi, what does the symbol '–' (dash) placed between two groups of svar most commonly represent?

  1. A change of tala
  2. A repeat of the preceding phrase
  3. A pause or breath marking the end of a phrase Correct answer.
  4. A lowering of pitch by one svar

Explanation

The dash is a phrase separator, showing where a melodic group ends and a breath or pause occurs. It helps the reader phrase the composition in the same way it is sung.

Question 45Notation Systems and Writing of Compositions (Svaralipi)

Which of these is the standard way of writing a komal (flattened) svar in Hindustani svaralipi?

  1. The svar letter with a small horizontal stroke or underline beneath it Correct answer.
  2. The svar letter with a vertical stroke above it
  3. The svar letter written in capitals
  4. The svar letter with a dot above it

Explanation

Komal svar are conventionally shown by a small mark under the letter, such as a stroke or underline. Tivra Ma is shown differently, with a vertical stroke above the letter, so the two alterations are not confused.

Question 46Notation Systems and Writing of Compositions (Svaralipi)

In a svaralipi, the notation 'S R G M | P D N SĖ‡' with a vertical bar most likely indicates which element?

  1. The end of a vibhag (section) of the tala Correct answer.
  2. The end of the entire composition
  3. The start of the antara
  4. The change from ascending to descending movement

Explanation

A vertical bar functions as a bar-line dividing the tala cycle into vibhag. It shows where each section of matras begins and ends, which is essential for placing sam correctly.

Question 47Notation Systems and Writing of Compositions (Svaralipi)

When writing the sthayi and antara of a Khayal, which convention is followed regarding the starting point of the antara?

  1. The antara usually begins from a higher svar, often around the tar saptak, and is labelled separately Correct answer.
  2. The antara is written before the sthayi
  3. The antara always begins on the same svar as the sthayi
  4. The antara is written without any tala marks

Explanation

The antara is conventionally notated after the sthayi and typically opens in a higher register, often touching the tar saptak. It is labelled 'Antara' so the two sections are clearly distinguished in the notation.

Question 48Notation Systems and Writing of Compositions (Svaralipi)

Which of the following best describes the purpose of svaralipi in Hindustani music?

  1. To preserve a composition's svar, tala placement and phrasing in written form Correct answer.
  2. To replace oral transmission of music entirely
  3. To record only the tala of a composition
  4. To fix a single authorised tempo for every performance

Explanation

Svaralipi records the notes, their tala placement and the phrasing so that a composition can be reconstructed by another musician. It supports oral transmission rather than replacing it, and it does not fix tempo or forbid variation.

Question 49Notation Systems and Writing of Compositions (Svaralipi)

A composition is written in tala Jhaptal. How many matras should the notated cycle contain, and how are they grouped?

  1. 12 matras grouped 4+4+4
  2. 7 matras grouped 3+2+2
  3. 10 matras grouped 3+3+4
  4. 10 matras grouped 2+3+2+3 Correct answer.

Explanation

Jhaptal has ten matras divided into four vibhag of 2, 3, 2 and 3 matras. The notation must therefore show ten matra positions with bar-lines after the 2nd, 5th and 7th matras.

Question 50Notation Systems and Writing of Compositions (Svaralipi)

In a notated composition, the cipher '0' placed above a matra indicates which feature of the tala?

  1. The end of the avartan
  2. Khali, the empty or unaccented vibhag Correct answer.
  3. Sam, the first and most accented matra
  4. Tali, an accented clap point

Explanation

The cipher 0 marks khali, the vibhag where the hand waves instead of clapping. Khali is unaccented relative to tali and is written so the performer keeps the cycle correctly.