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Maharashtra HSC Percussion study materials
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Maharashtra HSC Percussion practice questions

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Question 1Practical Performance: Solo Rendition of Prescribed Talas

In the Maharashtra HSC percussion practical, a candidate is asked to present a solo rendition of a prescribed tala. What does the term 'solo rendition' specifically require the candidate to demonstrate?

  1. A demonstration limited strictly to the basic theka and nothing further
  2. A duet performance with a harmonium accompanying the tabla
  3. A note-for-note reproduction of a single textbook theka without variation
  4. An unaccompanied, self-led expansion of the tala showing improvisation and compositional skill Correct answer.

Explanation

A solo rendition in the percussion practical means the candidate leads the performance unaccompanied, developing the tala through improvisation and structured expansion rather than merely repeating a fixed pattern. It is assessed on the ability to build and sustain the tala independently.

Question 2Practical Performance: Solo Rendition of Prescribed Talas

Which of the following best describes the role of the 'theka' in a solo rendition of a prescribed tala?

  1. It is an optional decoration added only at the very end
  2. It provides the foundational rhythmic framework on which the solo is built Correct answer.
  3. It is only relevant to vocal accompaniment, not percussion
  4. It replaces the tala entirely during improvisation

Explanation

The theka is the basic, recognizable stroke pattern that establishes the tala's identity, and it serves as the foundation from which the soloist expands. All improvisation must remain anchored to this framework so the tala stays identifiable.

Question 3Practical Performance: Solo Rendition of Prescribed Talas

A candidate performing a solo in a prescribed tala must keep a clear sense of the 'sam'. What is 'sam' in this context?

  1. An improvised section with no fixed position
  2. The first and most important beat of the tala cycle Correct answer.
  3. A decorative flourish played only at the start
  4. The final beat of the tala cycle

Explanation

Sam is the first beat of the tala cycle and carries the greatest structural weight, marking the point of resolution. A soloist must land phrases and cadences on sam to demonstrate command of the cycle.

Question 4Practical Performance: Solo Rendition of Prescribed Talas

During a solo rendition, the candidate uses 'khali' (empty) sections. How should khali be handled within the tala?

  1. It is avoided entirely in solo performance
  2. It should be played louder than the main beats
  3. It is marked by a lighter, open stroke indicating an unaccented section Correct answer.
  4. It must always coincide with sam

Explanation

Khali is the 'empty' or unaccented section of a tala, marked by a lighter, open-hand stroke that contrasts with the accented 'tali' beats. Recognizing and voicing khali correctly shows the candidate understands the internal accent structure of the cycle.

Question 5Practical Performance: Solo Rendition of Prescribed Talas

A candidate wishes to show the vibhag (division) structure of a prescribed tala during the solo. What is the most reliable way to make the divisions audible to the examiner?

  1. Speeding up gradually through the entire cycle
  2. Accenting the first beat of each vibhag through stroke weight and placement Correct answer.
  3. Playing every beat at exactly the same volume
  4. Omitting the theka completely

Explanation

Vibhags are the internal divisions of a tala, and their boundaries are made clear by accenting the first beat of each division through stroke weight and placement. This lets the listener perceive the tala's internal architecture, not just a stream of undifferentiated beats.

Question 6Practical Performance: Solo Rendition of Prescribed Talas

In the practical examination, a candidate performs a solo and then is asked to 'laykaari'. What does laykaari refer to in a percussion solo?

  1. The tuning of the drum before performance
  2. The physical posture adopted while playing
  3. The names of the talas assigned for the exam
  4. The systematic variation of tempo and rhythmic density within the tala Correct answer.

Explanation

Laykaari refers to the manipulation of lay (tempo) and rhythmic density, moving systematically through slower and faster patterns while keeping the tala intact. It is a core measure of a soloist's technical control and planning.

Question 7Practical Performance: Solo Rendition of Prescribed Talas

Which of the following prescribed talas is traditionally counted as a 16-beat cycle?

  1. Dadra
  2. Jhaptal
  3. Teental Correct answer.
  4. Rupak

Explanation

Teental is the standard 16-beat cycle, divided into four vibhags of four beats each. Knowing the beat counts of prescribed talas is basic preparation for selecting and structuring a solo.

Question 8Practical Performance: Solo Rendition of Prescribed Talas

A candidate is preparing a solo in a prescribed tala and needs to decide how to open the performance. Which opening approach is most appropriate for a solo rendition?

  1. Open with the closing tihai so the ending is established first
  2. Begin with a completely unrelated tala to show versatility
  3. Start directly with the fastest possible patterns to impress the examiner
  4. Begin with a short alap-like free introduction before settling into the cycle Correct answer.

Explanation

A solo typically opens with a brief free or semi-free introduction that establishes the tala's mood and tempo before the structured cycle begins. This gives the listener orientation and prepares the ground for the subsequent expansion.

Question 9Practical Performance: Solo Rendition of Prescribed Talas

During a solo, the candidate plays a 'tihai'. What is the defining feature of a tihai?

  1. A fixed theka played without variation
  2. A phrase repeated three times to land on sam Correct answer.
  3. A gradual slowing of tempo across the cycle
  4. A single unaccented beat marking khali

Explanation

A tihai is a rhythmic phrase played three times so that its final stroke falls on sam, creating a strong point of resolution. It is a key structural device for closing sections of a solo.

Question 10Practical Performance: Solo Rendition of Prescribed Talas

A candidate plans a tihai in a 16-beat tala where the phrase is played three times and lands on sam. If each repetition occupies four beats, on which beat does the tihai begin?

  1. Beat 1
  2. Beat 5 Correct answer.
  3. Beat 9
  4. Beat 13

Explanation

Three repetitions of four beats occupy twelve beats. To land on sam at the start of the next cycle, the tihai must begin four beats before the end of the current cycle, that is on beat 13 of a 16-beat cycle. Wait - recalculating: twelve beats ending on sam means the start is at beat 16 minus 12 plus 1, which is beat 5.

Question 11Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a solo in Jhaptal. How many beats does Jhaptal contain, and how is it divided?

  1. 8 beats, divided 4+4
  2. 14 beats, divided 3+4+3+4
  3. 12 beats, divided 4+4+4
  4. 10 beats, divided 2+3+2+3 Correct answer.

Explanation

Jhaptal is a 10-beat cycle traditionally divided as 2+3+2+3, giving four vibhags. Correctly internalizing this uneven division is essential for placing accents and cadences in a solo.

Question 12Practical Performance: Solo Rendition of Prescribed Talas

In Rupak tala, the khali falls on the first beat. What practical consequence does this have for a soloist?

  1. The soloist should treat Rupak as a 16-beat cycle
  2. The soloist must double the tempo throughout
  3. The soloist marks the opening beat lightly and places the main accent elsewhere in the cycle Correct answer.
  4. The soloist must avoid playing sam altogether

Explanation

Rupak is unusual because its first beat is khali, so the cycle opens with a lighter, unaccented stroke while the accented tali falls later. A soloist must respect this displaced accent structure rather than assuming sam is always the heaviest stroke.

Question 13Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to demonstrate 'baant' or the division of the tala during the solo. Which action best shows this?

  1. Playing the tala continuously without any internal accent
  2. Changing to a different tala mid-performance
  3. Playing only the khali sections
  4. Making the vibhag boundaries perceptible through deliberate accent and stroke choice Correct answer.

Explanation

Showing the baant means making the internal divisions of the tala perceptible, which is achieved by deliberate accenting and stroke selection at each vibhag boundary. This demonstrates structural understanding rather than mere fluency.

Question 14Practical Performance: Solo Rendition of Prescribed Talas

During the solo, a candidate introduces a 'chakradhar' (chakradar) tihai. How does a chakradar tihai differ from an ordinary tihai?

  1. It omits the cadence on sam entirely
  2. It is played only once instead of three times
  3. It is performed only in khali sections
  4. It consists of a tihai that is itself repeated three times Correct answer.

Explanation

A chakradar tihai is a compound device in which a tihai phrase is itself repeated three times, producing a longer and more complex cadential structure. It demands precise calculation so that the final stroke still lands on sam.

Question 15Practical Performance: Solo Rendition of Prescribed Talas

A candidate performing a solo in a prescribed tala uses 'bol' patterns. What are 'bol' in this context?

  1. The names of the ragas used in accompaniment
  2. The spoken syllables that represent drum strokes Correct answer.
  3. The written notation of tempo markings
  4. The physical tuning pegs of the drum

Explanation

Bol are the mnemonic syllables such as dha, dhin and ta that represent specific drum strokes. Reciting and then playing bol patterns is a standard way to build and demonstrate command of the tala.

Question 16Practical Performance: Solo Rendition of Prescribed Talas

A candidate wants to demonstrate 'atit' and 'anagat' placement during a solo. What do these terms describe?

  1. Using the left hand and right hand respectively
  2. Starting a phrase before the beat and after the beat respectively Correct answer.
  3. Playing louder and softer respectively
  4. Playing exactly on the beat versus playing off the beat

Explanation

Atit refers to beginning a phrase before the expected beat, while anagat refers to beginning after it, both creating tension against the cycle. Controlled use of these placements shows advanced rhythmic awareness in a solo.

Question 17Practical Performance: Solo Rendition of Prescribed Talas

A candidate must decide where to place a tihai so that it resolves convincingly. Which principle governs the placement?

  1. The tihai must always begin on the khali beat
  2. The first stroke of the first repetition must fall on sam
  3. The tihai must avoid sam entirely
  4. The final stroke of the third repetition must fall on sam Correct answer.

Explanation

The defining principle of a tihai is that the last stroke of the third repetition lands on sam, producing a strong resolution. The starting point is therefore calculated backwards from sam.

Question 18Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a solo and, midway, executes a section where the tempo doubles while the tala cycle stays constant. What is this technique commonly called?

  1. Vibhag
  2. Khali
  3. Barabar ki lay se dugun Correct answer.
  4. Sam

Explanation

Moving from barabar (single) lay to dugun (double) lay while the cycle remains constant is a standard laykaari technique. It demonstrates control and is a common feature of a structured solo.

Question 19Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked how to close a solo rendition in a prescribed tala. Which closing is most conventional?

  1. Ending on the khali beat without any cadence
  2. Ending with a tihai that resolves on sam Correct answer.
  3. Switching to a different tala for the final phrase
  4. Stopping abruptly in the middle of the cycle

Explanation

A solo conventionally closes with a cadential device, most often a tihai whose final stroke resolves on sam. This provides a clear, satisfying conclusion and demonstrates structural control.

Question 20Practical Performance: Solo Rendition of Prescribed Talas

A candidate must keep 'tali' clear during the solo. What does tali mark?

  1. An unaccented section of the cycle
  2. An accented beat marking a division of the tala Correct answer.
  3. The tuning note of the drum
  4. The end of the performance

Explanation

Tali marks accented beats that typically fall at the start of a vibhag, and they give the tala its audible shape. Clear tali articulation helps the listener follow the cycle.

Question 21Practical Performance: Solo Rendition of Prescribed Talas

A candidate plans a solo in a 7-beat tala and wants to divide it into vibhags of 3+2+2. Which prescribed tala matches this structure?

  1. Rupak Correct answer.
  2. Jhaptal
  3. Teental
  4. Dadra

Explanation

Rupak is the 7-beat cycle, traditionally divided 3+2+2, with khali on the first beat. Matching the beat count and division is essential when selecting and structuring a solo.

Question 22Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to demonstrate 'peshkar' at the start of a solo. What is the function of a peshkar?

  1. To close the performance with a final cadence
  2. To serve as an introductory, exploratory section that establishes the tala and tempo Correct answer.
  3. To replace the theka entirely
  4. To mark the khali beat only

Explanation

Peshkar is an opening, exploratory section that introduces the tala and establishes tempo and mood before more elaborate material follows. It sets the foundation for the rest of the solo.

Question 23Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a solo in a 10-beat tala and wants a tihai of three repetitions, each lasting three beats, resolving on sam. On which beat should the tihai begin?

  1. Beat 2 Correct answer.
  2. Beat 4
  3. Beat 1
  4. Beat 8

Explanation

Three repetitions of three beats occupy nine beats. To resolve on sam, the phrase must begin at beat 10 minus 9 plus 1, which is beat 2 of the cycle.

Question 24Practical Performance: Solo Rendition of Prescribed Talas

During a solo, a candidate alternates between 'barabar' and 'ad' lay. What does 'ad' lay mean?

  1. Playing at half the base tempo
  2. Playing at one and a half times the base tempo Correct answer.
  3. Playing at exactly the base tempo
  4. Playing without any fixed tempo

Explanation

Ad lay is one and a half times the base tempo, sitting between barabar (single) and dugun (double) lay. Recognizing and executing ad lay accurately is a mark of technical control in a solo.

Question 25Practical Performance: Solo Rendition of Prescribed Talas

A candidate must demonstrate 'kayda' within the solo. Which description best fits a kayda?

  1. A closing cadence played three times
  2. A structured, rule-bound thematic composition that is developed through variations Correct answer.
  3. An unaccented section marking khali
  4. A free improvisation with no fixed rules

Explanation

A kayda is a structured, rule-governed thematic composition that is developed through systematic variations (paltas). It is a central vehicle for demonstrating both compositional knowledge and improvisational control in a solo.

Question 26Practical Performance: Solo Rendition of Prescribed Talas

A candidate performing a solo in Teentaal reaches the point where the vibhag structure must be shown clearly. Which grouping of beats correctly represents the vibhags of Teentaal?

  1. 4+4+4+4 Correct answer.
  2. 3+3+2+2+2+2
  3. 4+2+4+2+4
  4. 2+2+2+2+2+2+2+2

Explanation

Teentaal is a 16-beat cycle divided into four equal vibhags of four beats each, marked by tali at beats 1, 5, 9 and 13. The soloist must articulate these divisions so the listener can follow the cycle.

Question 27Practical Performance: Solo Rendition of Prescribed Talas

During a solo in Jhaptal, the candidate must show the khali. On which beat does the khali of Jhaptal fall?

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

Explanation

Jhaptal is a 10-beat tala divided 2+3+2+3, with tali on beats 1, 3 and 8 and khali on beat 6. The soloist marks khali with a lighter, open-hand stroke so the listener hears the contrast with tali.

Question 28Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to explain the term 'theka' as used in solo tabla performance. Which description is accurate?

  1. A fixed set of bols that defines the tala and is used as the reference cycle Correct answer.
  2. A fast improvised passage that doubles the tempo
  3. A closing phrase played three times
  4. A tuning method for the dayan

Explanation

The theka is the standard bol pattern that identifies a tala and provides the reference cycle against which all improvisation is measured. A soloist keeps the theka in mind even when playing elaborate material.

Question 29Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a solo in Dadra. How many beats does Dadra contain, and how are they grouped?

  1. 6 beats grouped 3+3 Correct answer.
  2. 6 beats grouped 2+2+2
  3. 8 beats grouped 4+4
  4. 7 beats grouped 3+2+2

Explanation

Dadra is a six-beat tala divided into two vibhags of three beats, with tali on beat 1 and khali on beat 4. This gives the cycle its characteristic lilting feel.

Question 30Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to name the prescribed tala that has 7 beats divided 3+2+2. Which tala fits?

  1. Rupak Correct answer.
  2. Jhaptal
  3. Teentaal
  4. Ektaal

Explanation

Rupak is the seven-beat tala divided 3+2+2, and unusually its first beat is khali. The soloist must treat sam as an open, unaccented beat while the following vibhags carry tali.

Question 31Practical Performance: Solo Rendition of Prescribed Talas

During a solo, the candidate plays a passage in which each bol is struck twice as fast while the tala cycle remains unchanged. What is this lay called?

  1. Ad lay
  2. Kuad lay
  3. Barabar lay
  4. Dugun lay Correct answer.

Explanation

Dugun lay means playing at twice the speed of the basic tempo while the cycle length stays the same, so twice as many bols fit inside one avartan. Barabar lay is the original tempo, and ad and kuad are further multiples.

Question 32Practical Performance: Solo Rendition of Prescribed Talas

A candidate wants to play a tihai in a 16-beat cycle where each of the three repetitions lasts four beats. On which beat does the tihai begin so that it lands on sam?

  1. Beat 5 Correct answer.
  2. Beat 1
  3. Beat 9
  4. Beat 13

Explanation

Three repetitions of four beats take twelve beats, so the phrase must begin four beats before sam, that is on beat 13 of the previous cycle, and resolve on beat 1. Counting backwards from sam is the standard way to place a tihai.

Question 33Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked what 'sam' means in the context of a solo rendition. Which statement is correct?

  1. It is the first beat of the cycle and the point of resolution Correct answer.
  2. It is the empty beat where the main drum is not struck
  3. It is the fastest tempo used in the solo
  4. It is the final beat before the cycle repeats

Explanation

Sam is the first and most important beat of the tala cycle, the point where phrases resolve and the cycle restarts. Soloists plan tihais and cadences so that they land on sam.

Question 34Practical Performance: Solo Rendition of Prescribed Talas

A candidate is performing a solo in Ektaal and must demonstrate the vibhag division. Which grouping correctly describes Ektaal?

  1. 4+4+4
  2. 3+3+3+3
  3. 2+2+2+2+2+2 Correct answer.
  4. 5+5+2

Explanation

Ektaal is a twelve-beat tala divided into six vibhags of two beats each, with tali on beats 1, 5, 9 and 11 and khali on 3 and 7. The soloist should articulate the two-beat grouping clearly.

Question 35Practical Performance: Solo Rendition of Prescribed Talas

A candidate plays a passage in which the phrase is performed three times and resolves on sam. What is this passage called?

  1. Chakradar
  2. Tihai Correct answer.
  3. Rela
  4. Palta

Explanation

A tihai is a phrase repeated three times so that the final note lands on sam. The repetitions may be of equal length or may be varied, but the triple structure and the resolution on sam are essential.

Question 36Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a chakradar tihai. How does a chakradar differ from an ordinary tihai?

  1. Each of the three repetitions is itself a tihai, giving nine statements in all Correct answer.
  2. It omits the resolution on sam
  3. It is always played at half tempo
  4. It is played only in the khali section

Explanation

A chakradar tihai contains three repetitions, and each repetition is itself a tihai of three phrases, so nine statements are heard before the final resolution. It is longer and more elaborate than a simple tihai.

Question 37Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to show 'baant' during the solo. Which action best demonstrates baant?

  1. Clearly articulating the vibhag divisions of the tala while playing Correct answer.
  2. Repeating the theka without variation
  3. Tuning the drum before the solo
  4. Playing as fast as possible without regard to the cycle

Explanation

Baant refers to the division of the tala into vibhags, and demonstrating it means making those divisions audible through accent and phrasing. The listener should be able to feel where each vibhag begins.

Question 38Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a solo in a 10-beat tala and wants a tihai of three repetitions, each lasting three beats, resolving on sam. How many beats before sam must the tihai begin?

  1. Six beats
  2. Twelve beats
  3. Nine beats Correct answer.
  4. Three beats

Explanation

Three repetitions of three beats take nine beats in total, so the phrase must start nine beats before sam. Counting backwards from sam ensures the final stroke lands exactly on the first beat.

Question 39Practical Performance: Solo Rendition of Prescribed Talas

During a solo, a candidate alternates between barabar lay and ad lay. What does ad lay mean?

  1. Four times the basic tempo
  2. Half the basic tempo
  3. One-and-a-half times the basic tempo Correct answer.
  4. Twice the basic tempo

Explanation

Ad lay is one-and-a-half times the basic tempo, so three bols are played where two were played before. It creates a distinctive cross-rhythm against the cycle.

Question 40Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to demonstrate 'tali' clearly during the solo. What does tali mark?

  1. The end of the solo
  2. A stressed beat of the cycle, shown by a resonant closed stroke Correct answer.
  3. An unstressed beat shown by an open stroke
  4. The fastest passage of the solo

Explanation

Tali marks a stressed beat of the tala and is shown with a resonant, closed stroke that the listener can hear clearly. Khali, by contrast, is shown with a lighter open stroke.

Question 41Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked how to close a solo rendition in a prescribed tala in the most conventional way. Which closing is most standard?

  1. A repeat of the opening peshkar
  2. A tihai resolving on sam Correct answer.
  3. An abrupt stop on a random beat
  4. A gradual slowing with no resolution

Explanation

The conventional close is a tihai or cadential phrase that resolves precisely on sam, giving the performance a clear and satisfying end. Ending anywhere else leaves the cycle unresolved.

Question 42Practical Performance: Solo Rendition of Prescribed Talas

A candidate wants to open a solo in a prescribed tala with a slow, expansive presentation of the theka before adding improvisation. Which opening approach does this describe?

  1. Beginning immediately with a fast rela
  2. Beginning with a chakradar tihai
  3. Beginning with the theka in barabar lay and gradually developing Correct answer.
  4. Beginning with a tuning check

Explanation

A traditional opening presents the theka at the basic tempo, allowing the listener to settle into the cycle before improvisation begins. The solo then develops through peshkar, kayda and laykaari.

Question 43Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a solo in a tala where the khali falls on the first beat. Which prescribed tala has this feature?

  1. Teentaal
  2. Jhaptal
  3. Rupak Correct answer.
  4. Dadra

Explanation

Rupak is unusual because its first beat, which is sam, is khali rather than tali. The soloist must treat sam as an open, unaccented beat while the tali fall on later vibhags.

Question 44Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to explain 'bol' in the context of a tabla solo. What are bol?

  1. The spoken syllables that represent drum strokes Correct answer.
  2. The tuning pitches of the drum heads
  3. The tempo markings of the solo
  4. The number of beats in a cycle

Explanation

Bol are the spoken syllables such as dha, dhin, ta and tin that represent specific strokes on the tabla. Soloists recite bol aloud or silently to internalise patterns before playing them.

Question 45Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a passage in which the tempo doubles while the tala cycle stays constant, and then returns to the original tempo. What does this demonstrate?

  1. A change of tala
  2. A change of khali position
  3. Laykaari through dugun and back to barabar Correct answer.
  4. A tuning adjustment

Explanation

Doubling the tempo within a fixed cycle is dugun lay, a form of laykaari, and returning to the original tempo restores barabar lay. The cycle length remains unchanged throughout.

Question 46Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to explain why a tihai must be planned by counting backwards from sam. Which reasoning is correct?

  1. The tihai must always begin on the khali beat
  2. The tihai must be played at the fastest tempo
  3. The total length of the repetitions must equal the distance to sam Correct answer.
  4. The tihai must avoid the first beat of the cycle

Explanation

A tihai resolves on sam only if the combined length of its three repetitions exactly equals the number of beats between its start and sam. Counting backwards from sam guarantees this alignment.

Question 47Practical Performance: Solo Rendition of Prescribed Talas

A candidate claims that playing a chakradar tihai in a 16-beat cycle requires careful planning. If each of the nine statements lasts one beat, how many beats before sam must the chakradar begin?

  1. Six beats
  2. Sixteen beats
  3. Nine beats Correct answer.
  4. Twelve beats

Explanation

A chakradar contains nine statements in total, so nine statements of one beat each take nine beats and must begin nine beats before sam. The soloist counts backwards to ensure the ninth statement lands on sam.

Question 48Practical Performance: Solo Rendition of Prescribed Talas

A candidate is asked to distinguish antara from the opening section of a tabla solo. Which statement is correct?

  1. Antara is a type of khali
  2. Antara is a later section that explores a different register or phrase of the composition Correct answer.
  3. Antara is the first beat of the cycle
  4. Antara is the tuning of the bayan

Explanation

In a tabla composition, antara is a subsequent section that introduces new material, often in a different register, after the opening sthayi. It extends the composition rather than restating the opening.

Question 49Practical Performance: Solo Rendition of Prescribed Talas

In a solo rendition of Jhaptal, a candidate must show the vibhag structure while playing the theka. Which grouping correctly represents Jhaptal?

  1. 2+2+3+2
  2. 2+3+2+3 Correct answer.
  3. 3+2+2+3
  4. 3+3+2+2

Explanation

Jhaptal is a ten-matra tala whose ten beats are divided into four vibhags of 2, 3, 2 and 3 matras respectively. Talis fall on matras 1, 3, 8 and 10, with khali on matra 6, so the grouping 2+3+2+3 correctly captures the vibhag pattern. A soloist marks these divisions through the theka's stress and the hand gestures on tali and khali.

Question 50Practical Performance: Solo Rendition of Prescribed Talas

A candidate performs a solo in Rupak tala. Which feature distinguishes Rupak from most other prescribed talas during the opening theka?

  1. The tala has no khali at all and every matra is accented
  2. The sam is silent and only the tali on matra 4 is sounded
  3. The theka begins on khali but sam is marked on matra 3
  4. The khali falls on the first matra, so the cycle opens with an unaccented wave Correct answer.

Explanation

Rupak is a seven-matra tala grouped 3+2+2 in which the first matra is khali rather than tali. The soloist therefore opens the cycle with an unaccented wave of the hand, and the first tali falls on matra 4. This unusual placement means sam and khali coincide at the start, which the performer must handle carefully when building phrases.