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Maharashtra HSC Vocal Classical Music study materials
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Maharashtra HSC Vocal Classical Music practice questions

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Question 1Raga knowledge and classification

In Hindustani music, the term 'thaat' as systematised by V. N. Bhatkhande refers to which of the following?

  1. A scale-type used to classify ragas by their ascending and descending note structure Correct answer.
  2. A decorative ornament applied to a sustained note
  3. A category of percussion instruments used in accompaniment
  4. A rhythmic cycle of fixed length used for composition

Explanation

Bhatkhande's thaat system groups ragas under ten parent scale-types defined by the notes used in ascent and descent. A thaat is a classificatory scale, not a performing raga, and it does not prescribe rhythm or ornament. This is why several distinct ragas can share one thaat.

Question 2Raga knowledge and classification

How many thaths are recognised in Bhatkhande's standard classification of Hindustani ragas?

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

Explanation

Bhatkhande arranged Hindustani ragas under ten thaths, each named after a representative raga such as Bilawal, Khamaj, or Bhairav. The number ten is a fixed feature of his published scheme and is taught as a basic fact. Other counts belong to different or later systems.

Question 3Raga knowledge and classification

The raga Kafi is classified under which thaat?

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

Explanation

Kafi gives its name to the Kafi thaat, whose scale uses shuddha ga, shuddha ni, and komal ga-ni relationships characteristic of the parent scale. Ragas such as Bageshri and Pilu are also grouped here. The thath is named after its most representative raga, which is Kafi itself.

Question 4Raga knowledge and classification

A raga in which the ascending and descending lines use different sets of notes is described by which term?

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

Explanation

A vakra raga has a crooked or zigzag progression, and it commonly also shows different note sets in aroha and avaroha. This contrast between ascent and descent is a standard analytical feature in raga description. Sampurna, audav, and shadav describe the count of notes, not the divergence between the two lines.

Question 5Raga knowledge and classification

Which pair of notes is komal (flattened) in the thaat named after raga Bhairav?

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

Explanation

Bhairav thaat contains komal re and komal dha alongside shuddha ga, ma, pa, and ni. The resulting phrases, especially the slow oscillation around komal re and komal dha, give Bhairav its devotional character. The other pairs belong to different thaths such as Asavari or Marwa.

Question 6Raga knowledge and classification

In Hindustani terminology, the notes that are fixed and unalterable in the scale are called:

  1. Alankar
  2. Vadi
  3. Chalan
  4. Achal swar Correct answer.

Explanation

Achal swar means immovable note, referring to sa and pa, which are not flattened or sharpened in the standard scale. All other notes may appear in komal or tivra forms depending on the raga. Chalan, vadi, and alankar refer to movement, prominence, and ornament respectively.

Question 7Raga knowledge and classification

A raga that uses five notes in ascent and seven in descent is described as:

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

Explanation

The compound term lists the ascent note count first and the descent count second, so five ascending and seven descending notes gives audav-sampurna. Ragas such as Bhoopali-like pentatonic ascents with fuller descents illustrate this pattern. Reading the term order correctly is essential.

Question 8Raga knowledge and classification

Which of the following is a prahar (time-slot) association traditionally given to raga Bhairav?

  1. Midnight, around the fourth prahar of the night
  2. Late morning, around the second prahar of the day Correct answer.
  3. Just before dawn, around the first prahar of the day
  4. Late afternoon, around the fourth prahar of the day

Explanation

Bhairav is traditionally assigned to the early morning hours, commonly placed in the second prahar of the day. Its slow, grave treatment of komal re and komal dha suits that serene period. Other time assignments belong to different ragas.

Question 9Raga knowledge and classification

Raga Yaman is built on which thaat?

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

Explanation

Yaman uses tivra ma in place of shuddha ma and is the representative raga of Kalyan thaat. Its characteristic phrases centre on ga, tivra ma, and ni. Bilawal, Khamaj, and Poorvi each have different note configurations.

Question 10Raga knowledge and classification

In raga Malkauns, which set of notes is used?

  1. Sa, komal re, shuddha ma, pa, komal dha
  2. Sa, komal ga, tivra ma, pa, komal ni
  3. Sa, shuddha re, komal ga, pa, komal ni
  4. Sa, komal ga, shuddha ma, komal dha, komal ni Correct answer.

Explanation

Malkauns is a pentatonic raga omitting re and pa, and it uses komal ga, shuddha ma, komal dha, and komal ni. The absence of re and pa is central to its grave, introspective character. The other sets introduce notes that Malkauns does not take.

Question 11Raga knowledge and classification

A raga in which the ascending line omits a note that appears in the descending line is best described as showing:

  1. A purely rhythmic classification
  2. A single fixed scale with no variation
  3. A vakr or divergent aroha-avaroha pattern Correct answer.
  4. Uniform note density in both directions

Explanation

When ascent and descent differ, the raga is described as having a crooked or divergent progression, often labelled vakra. This is a standard analytical observation in Hindustani raga description. Note density, rhythm, and fixed scales do not capture the directional difference.

Question 12Raga knowledge and classification

The term 'vadi' in raga analysis refers to:

  1. The note of secondary importance in a raga
  2. The most prominent or principal note of a raga Correct answer.
  3. The final resting note of a composition
  4. The note used only in the descending line

Explanation

Vadi is the principal or most emphasised note of a raga, around which phrases tend to revolve. Samvadi is the secondary note, usually a fourth or fifth away. The other descriptions refer to different concepts such as nyasa or descent-only notes.

Question 13Raga knowledge and classification

Raga Bhoopali is best described by which combination?

  1. Audav-sampurna, omitting re and pa
  2. Sampurna-sampurna with all seven notes
  3. Audav-audav, omitting ma and ni Correct answer.
  4. Shadav-sampurna, omitting only re

Explanation

Bhoopali uses five notes in both ascent and descent, omitting ma and ni, and is therefore audav-audav. It is a Kalyan-family raga because it takes tivra ma in its parent scale, though ma itself is not sounded. The other descriptions misstate its note count or omissions.

Question 14Raga knowledge and classification

Which raga is traditionally associated with the late-night prahar and uses komal ga, shuddha ma, and komal ni without re or pa?

  1. Bhairavi
  2. Darbari Kanada
  3. Malkauns Correct answer.
  4. Bageshri

Explanation

Malkauns is the classic late-night pentatonic raga omitting re and pa, with komal ga, shuddha ma, komal dha, and komal ni. Its slow, expansive treatment in the fourth prahar of night is well established. The other ragas use different note sets or time associations.

Question 15Raga knowledge and classification

In the Khamaj thaat, which note is shuddha in ascent but komal in descent?

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

Explanation

Khamaj thaat is defined by shuddha ni in the ascending line and komal ni in the descending line. This asymmetry gives the thaat its characteristic colour and is a frequent examination point. Ga, dha, and re do not show this particular shuddha-komal split in Khamaj.

Question 16Raga knowledge and classification

A performer describes a raga as having vadi on ga and samvadi on ni. Which relationship between vadi and samvadi does this illustrate?

  1. A fourth or fifth relationship Correct answer.
  2. A second relationship
  3. A unison relationship
  4. A seventh relationship

Explanation

Samvadi is conventionally placed a fourth or fifth from the vadi, giving a consonant relationship that shapes phrase direction. Ga to ni spans a fifth in the standard scale, so this pairing fits the convention. Unison, second, and seventh placements are not the standard samvadi relationship.

Question 17Raga knowledge and classification

Which statement best distinguishes a thaat from a raga?

  1. A thaat and a raga are identical in every respect
  2. A thaat is a classificatory scale, while a raga is a performing entity with characteristic phrases and movement Correct answer.
  3. A thaat is defined by rhythm, while a raga is defined by tempo
  4. A thaat is a performing form with prescribed ornaments, while a raga is only a scale

Explanation

A thaat is an abstract scale used to group ragas and does not itself prescribe phrases, ornaments, or time. A raga is a performing entity with aroha, avaroha, chalan, vadi, and characteristic phrases. This distinction is fundamental to Bhatkhande's classification.

Question 18Raga knowledge and classification

Raga Todi is grouped under which thaat?

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

Explanation

Todi gives its name to the Todi thaat, which uses komal re, komal ga, tivra ma, and komal dha. The raga Todi is the representative member of that parent scale. Bhairav, Poorvi, and Marwa are separate thaths with different note configurations.

Question 19Raga knowledge and classification

A raga uses six notes in ascent and seven in descent, and its ascent omits dha. Which description applies?

  1. Sampurna-shadav with dha omitted in avaroha
  2. Audav-sampurna with dha omitted in aroha
  3. Audav-audav with dha omitted in both directions
  4. Shadav-sampurna with dha omitted in aroha Correct answer.

Explanation

Six ascending notes and seven descending notes give the label shadav-sampurna. The omitted note in ascent is dha, which still appears in descent. Reading the compound jati term in ascent-then-descent order is the key step.

Question 20Raga knowledge and classification

Which of these ragas is a member of the Asavari thaat?

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

Explanation

Jaunpuri belongs to Asavari thaat, sharing its komal ga, komal dha, and komal ni framework. It is often contrasted with Asavari itself in its treatment of these notes. Yaman, Bhoopali, and Bhairav belong to Kalyan, Kalyan, and Bhairav groupings respectively.

Question 21Raga knowledge and classification

In raga Marwa, which note is typically omitted in ascent and which gives the raga its characteristic tension?

  1. Pa is omitted, and komal re with tivra ma create the tension Correct answer.
  2. Ni is omitted, and shuddha re with shuddha dha create the tension
  3. Ma is omitted, and komal ga with komal ni create the tension
  4. Re is omitted, and shuddha ma with komal dha create the tension

Explanation

Marwa typically avoids pa in ascent and is coloured by komal re and tivra ma, which produce its restless, unsettled quality. The near-absence of pa is a widely noted feature of the raga. The other combinations misidentify the omitted note or the characteristic pair.

Question 22Raga knowledge and classification

Two ragas share the same thaat but are considered distinct. Which feature most reliably distinguishes them?

  1. The number of notes in the parent scale
  2. The percussion instrument used in accompaniment
  3. Their characteristic phrases, vadi, and treatment of notes Correct answer.
  4. The tempo at which they are performed

Explanation

Sharing a thaat means sharing a parent scale, so distinction must come from chalan, vadi emphasis, and the treatment of individual notes. Ragas such as Bageshri and Kafi illustrate how phrase shape separates members of one thaat. Scale count, tempo, and percussion do not define raga identity.

Question 23Raga knowledge and classification

Which statement about the Kalyan thaat is accurate?

  1. It uses komal re and komal dha throughout
  2. It omits ma entirely in both directions
  3. It uses komal ga and komal ni as its defining notes
  4. It uses tivra ma and shuddha notes elsewhere, with ni often prominent Correct answer.

Explanation

Kalyan thaat is defined by tivra ma while the remaining notes are shuddha, and ni plays an important role in many Kalyan-family ragas. Yaman is its representative raga. Komal re with komal dha belongs to Bhairav, and komal ga with komal ni to Asavari.

Question 24Raga knowledge and classification

A candidate hears a night raga with komal ga, komal dha, komal ni, and a strong oscillation on komal ga. Which raga and thaat pairing is most consistent?

  1. Malkauns under Bhairav thaat
  2. Darbari Kanada under Asavari thaat Correct answer.
  3. Bhairav under Bhairav thaat
  4. Bhoopali under Kafi thaat

Explanation

Darbari Kanada uses komal ga, komal dha, and komal ni with a pronounced oscillation around komal ga, and it is grouped under Asavari thaat. The slow, grave night presentation matches this description. The other pairings misassign either the raga or its parent thaat.

Question 25Raga knowledge and classification

Which observation correctly links a raga's time of performance to its note structure?

  1. Morning ragas always omit pa to mark the transition from night
  2. Afternoon ragas use only five notes in both directions
  3. Twilight ragas such as Sandhi Prakash commonly use komal re or komal dha at the juncture of day and night Correct answer.
  4. Night ragas avoid komal notes to keep the scale bright

Explanation

The sandhi prakash category covers twilight ragas, which frequently employ komal re or komal dha, notes associated with the transition between day and night. Ragas such as Marwa and Poorvi illustrate this tendency. The other statements impose rules that the repertoire does not follow.

Question 26Raga knowledge and classification

In Hindustani raga classification, a raga whose ascending and descending note sequences are identical is called:

  1. Vakra
  2. Sampurna Correct answer.
  3. Varja
  4. Shadav

Explanation

Sampurna ragas use all seven notes in both ascent and descent, so the aroha and avaroha follow the same sequence without omission. Vakra means the phrase moves in a zigzag order, while shadav and varja describe six-note and five-note scales. The term sampurna therefore marks the straight, complete seven-note shape.

Question 27Raga knowledge and classification

A raga is described as audav-sampurna. Which pair of facts does this label state?

  1. Seven notes in ascent and five in descent
  2. Five notes in ascent and six in descent
  3. Five notes in ascent and seven in descent Correct answer.
  4. Six notes in ascent and six in descent

Explanation

In the compound jati label, the first term refers to the aroha and the second to the avaroha. Audav means five notes and sampurna means seven, so audav-sampurna gives five notes rising and seven falling. The order of the two words is fixed and cannot be reversed.

Question 28Raga knowledge and classification

A student states that a thaat and a raga are the same thing. Which correction is most accurate?

  1. A thaat is a performed melody while a raga is only a scale
  2. A thaat is a rhythmic cycle that ragas are set to
  3. A thaat is a parent scale of seven notes from which ragas are grouped, while a raga is a melodic entity with vadi, samvadi and characteristic phrases Correct answer.
  4. A thaat fixes the vadi and samvadi of every raga that belongs to it

Explanation

A thaat is a theoretical seven-note scale arrangement used to group ragas, as codified in the Bhatkhande system. A raga goes further, carrying its own vadi, samvadi, aroha-avaroha, and identifying phrases. Several distinct ragas can share one thaat, which proves the two concepts are not identical.

Question 29Raga knowledge and classification

A raga takes shuddha re, shuddha ga, shuddha ma, shuddha dha and shuddha ni, with komal ga absent. Under which thaat is it classified?

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

Explanation

Bilawal is the thaat in which all seven notes are shuddha, so any raga using only natural notes falls under it. The set given here contains no komal or tivra alteration at all. Kafi, Bhairav and Asavari each require at least one komal note in the parent scale.

Question 30Raga knowledge and classification

A raga's parent scale contains komal ga, komal dha and komal ni, while re and ma are shuddha. Which thaat is this?

  1. Asavari Correct answer.
  2. Poorvi
  3. Khamaj
  4. Todi

Explanation

Asavari thaat is defined by komal ga, komal dha and komal ni, with the remaining notes shuddha. The combination given matches that scale exactly. Khamaj keeps shuddha ga and lowers only ni, while Poorvi and Todi introduce tivra ma.

Question 31Raga knowledge and classification

In raga analysis, the note on which the raga's phrases most frequently rest and which is treated as the principal note is called:

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

Explanation

The vadi is the principal or king note of a raga, the one most emphasised and most often returned to. The samvadi is the secondary consonant note, usually a fourth or fifth away. Anuvadi notes are merely consonant helpers and vivadi notes are dissonant in that raga.

Question 32Raga knowledge and classification

A raga's vadi is on ga and its samvadi is on ni. Which interval relationship between the two is being described?

  1. A third apart, which is never used in raga grammar
  2. A fourth or fifth apart, the usual consonant pairing Correct answer.
  3. A major seventh apart, giving a wide dissonant pairing
  4. A second apart, giving a close dissonant pairing

Explanation

In standard raga grammar the samvadi lies a fourth or fifth from the vadi, so the two notes are consonant and mutually reinforcing. Ga to ni spans a fifth when ga is shuddha, which fits this norm. Pairings at a second or seventh would clash and are not treated as samvadi relationships.

Question 33Raga knowledge and classification

A raga omits dha in ascent but includes it in descent, and its remaining notes are shuddha except komal ni. Which description fits?

  1. Audav-audav with dha omitted in both directions
  2. Audav-sampurna with a varja dha in the aroha Correct answer.
  3. Shadav-shadav with no omitted note
  4. Sampurna-audav with a varja dha in the avaroha

Explanation

The ascent has six notes because dha is left out, and the descent has all seven, giving audav-sampurna only if a further note is also omitted; here the label must reflect the actual counts, with dha varja in the aroha. The key point is that the omission is directional: dha appears in descent but not ascent. Such directional varja is common and is described by naming the omitted note in the ascent.

Question 34Raga knowledge and classification

A performer links a raga's time of performance to its note structure. Which observation is consistent with traditional prahar practice?

  1. Morning ragas invariably use tivra ma as their defining note
  2. Ragas of the sandhi-prakash hours, such as those around sunset, commonly use komal re and komal dha to create a transitional mood Correct answer.
  3. Ragas sung at midnight avoid komal ni in every case
  4. Afternoon ragas are distinguished mainly by the absence of ma

Explanation

Sandhi-prakash ragas performed at the junctions of day and night, such as Poorvi and Marwa around sunset, are associated with komal re and komal dha, which give a transitional, unsettled colour. This link between hour and altered notes is a recognised part of prahar theory. The other claims overgeneralise and conflict with well-known ragas of those hours.

Question 35Raga knowledge and classification

Two ragas share an identical set of notes but are treated as separate ragas. Which pair of features most reliably establishes their distinctness?

  1. Their tempo markings and their instrumentation
  2. Their talas and their performers
  3. Their vadi-samvadi and their characteristic pakad phrases Correct answer.
  4. Their notation systems and their scribes

Explanation

When the scale is shared, identity is carried by the vadi-samvadi and by the pakad, the catch-phrase that reveals the raga's shape. Ragas such as Bhoopali and Deshkar share notes but differ in emphasis and phrase movement. Tala, tempo and notation are performance or notational choices and do not define raga identity.

Question 36Raga knowledge and classification

A raga is classified under Kafi thaat and uses komal ga and komal ni, with shuddha re, ma, pa and dha. Which raga is being described?

  1. Khamaj
  2. Bageshri Correct answer.
  3. Bhoopali
  4. Bhairavi

Explanation

Bageshri belongs to Kafi thaat, using komal ga and komal ni with the remaining notes shuddha, and it is a late-night raga. Bhairavi and Khamaj belong to other thaats, and Bhoopali omits ma and ni entirely. The given note set therefore points to Bageshri.

Question 37Tala knowledge and rhythmic theory

हिंदुस्तानी संगीतात तालाच्या प्रत्येक विभागाला काय म्हणतात?

  1. आवर्तन
  2. विभाग Correct answer.
  3. मात्रा
  4. लय

Explanation

तालाचे जे ठोके किंवा विभाग असतात त्यांना 'विभाग' असे म्हणतात; प्रत्येक विभाग एक किंवा अधिक मात्रांचा बनलेला असतो. विभागांच्या पहिल्या मात्रेला सम असे म्हणतात आणि ती तालाची सुरुवात दर्शवते.

Question 38Tala knowledge and rhythmic theory

तेवरा तालात किती मात्रा आहेत?

  1. आठ
  2. सात Correct answer.
  3. सोळा
  4. चौदा

Explanation

तेवरा हा सात मात्रांचा ताल आहे आणि त्याचे विभाग 3 + 2 + 2 असे विभागले जातात. या तालाचा वापर प्रामुख्याने खयाल गायनात होतो.

Question 39Tala knowledge and rhythmic theory

झपतालात समानंतर पुढील खाली कोणत्या मात्रेवर येते?

  1. सातवी Correct answer.
  2. चौथी
  3. सहावी
  4. आठवी

Explanation

झपताल दहा मात्रांचा ताल आहे आणि त्याचे विभाग 2 + 3 + 2 + 3 असे आहेत. पहिली मात्रा सम असते आणि पुढील खाली सातव्या मात्रेवर येते, जिथे तिसरा विभाग सुरू होतो.

Question 40Tala knowledge and rhythmic theory

रूपक तालाची विभागणी कोणती आहे?

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

Explanation

रूपक हा सात मात्रांचा ताल आहे आणि त्याचे विभाग 3 + 2 + 2 असे आहेत. या तालात सम पहिल्या मात्रेवर असते आणि खाली सहाव्या मात्रेवर येते.

Question 41Tala knowledge and rhythmic theory

लयीच्या तीन प्रमुख प्रकारांमध्ये कोणते समाविष्ट होतात?

  1. मात्रा, विभाग, आवर्तन
  2. विलंबित, मध्य, द्रुत Correct answer.
  3. सम, खाली, ताली
  4. खयाल, ध्रुपद, तराना

Explanation

लयीचे मुख्य तीन प्रकार विलंबित (मंद), मध्य आणि द्रुत असे आहेत. या तीनही प्रकारांमध्ये मात्रांची गती बदलते पण तालाची रचना तीच राहते.

Question 42Tala knowledge and rhythmic theory

सम मात्रेचे तालातील स्थान काय दर्शवते?

  1. फक्त तालीची जागा
  2. तालाची सुरुवात आणि मुख्य ठोका Correct answer.
  3. तालाची शेवटची मात्रा
  4. फक्त खालीची जागा

Explanation

सम म्हणजे तालाचा पहिला आणि मुख्य ठोका, जो आवर्तनाची सुरुवात दर्शवतो. गायक आणि वादक समावर पोहोचल्यावर आवर्तन पूर्ण झाल्याचे समजते.

Question 43Tala knowledge and rhythmic theory

खाली आणि ताली यांतील मुख्य फरक कोणता?

  1. खाली आणि ताली यांत कोणताही फरक नाही
  2. खाली फक्त तबल्यावर वाजवली जाते, ताली फक्त गायक देतो
  3. खाली फक्त द्रुत लयीत दिली जाते, ताली विलंबित लयीत दिली जाते
  4. खाली रिकाम्या हाताने दिली जाते, ताली हाताच्या तळव्याने दिली जाते Correct answer.

Explanation

ताल दाखवताना ताली हाताच्या तळव्याने वाजवून दाखवली जाते आणि खाली बोटांनी किंवा रिकाम्या हाताने दाखवली जाते. खालीच्या जागा तालाच्या रचनेत विशिष्ट विभागांवर येतात आणि त्या समापासून वेगळ्या असतात.

Question 44Tala knowledge and rhythmic theory

झपतालात किती खाली आहेत?

  1. दोन Correct answer.
  2. शून्य
  3. तीन
  4. एक

Explanation

झपतालाचे विभाग 2 + 3 + 2 + 3 असे आहेत आणि त्यातील तिसऱ्या विभागाची पहिली मात्रा खाली असते. त्यानंतर चौथ्या विभागाची पहिली मात्रा पुन्हा खाली असते, त्यामुळे एकूण दोन खाली होतात.

Question 45Tala knowledge and rhythmic theory

तीव्रा तालात किती मात्रा आहेत?

  1. चौदा
  2. सोळा Correct answer.
  3. बारा
  4. दहा

Explanation

तीव्रा हा सोळा मात्रांचा ताल आहे आणि त्याचे विभाग 4 + 4 + 4 + 4 असे समान आहेत. या तालाचा वापर प्रामुख्याने खयाल आणि तराना गायनात होतो.

Question 46Tala knowledge and rhythmic theory

एकतालाची विभागणी कोणती आहे?

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

Explanation

एकताल हा बारा मात्रांचा ताल आहे आणि त्याचे सहा विभाग प्रत्येकी दोन मात्रांचे असतात. या तालात सम पहिल्या मात्रेवर असते आणि खाली सातव्या मात्रेवर येते.

Question 47Tala knowledge and rhythmic theory

चौतालात किती मात्रा आहेत?

  1. चौदा
  2. सोळा
  3. बारा Correct answer.
  4. दहा

Explanation

चौताल हा बारा मात्रांचा ताल आहे आणि त्याचे विभाग 4 + 4 + 4 असे आहेत. या तालाचा वापर प्रामुख्याने ध्रुपद आणि धमार गायनात होतो.

Question 48Tala knowledge and rhythmic theory

धमार गायनासाठी सर्वात जास्त वापरला जाणारा ताल कोणता?

  1. तेवरा ताल
  2. रूपक ताल
  3. झपताल
  4. धमार ताल Correct answer.

Explanation

धमार ताल हा चौदा मात्रांचा ताल आहे आणि धमार गायनाचा पारंपरिक ताल म्हणून तो ओळखला जातो. त्याचे विभाग 5 + 2 + 3 + 4 असे आहेत आणि तो प्रामुख्याने होळीच्या पदांसाठी वापरला जातो.

Question 49Tala knowledge and rhythmic theory

तालाच्या एका पूर्ण फेऱ्याला काय म्हणतात?

  1. आवर्तन Correct answer.
  2. विभाग
  3. लय
  4. मात्रा

Explanation

तालाच्या पहिल्या मात्रेपासून पुढील पहिल्या मात्रेपर्यंतच्या पूर्ण फेऱ्याला आवर्तन असे म्हणतात. आवर्तनात तालाच्या सर्व मात्रा आणि विभाग एकदा पूर्ण होतात.

Question 50Tala knowledge and rhythmic theory

समानंतर जेव्हा तालाच्या दुप्पट वेगाने मात्रा मोजल्या जातात, तेव्हा ती लय कोणती?

  1. तिगुन
  2. दुगुन Correct answer.
  3. अडी
  4. चौगुन

Explanation

दुगुन म्हणजे मूळ लयीच्या दुप्पट वेगाने मात्रा मोजणे; यात एका मूळ मात्रेत दोन उपमात्रा येतात. हे प्रमाण गायनात किंवा वादनात लय वाढवताना वापरले जाते.