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Maharashtra HSC Vocal Light Music study materials
Maharashtra HSC Vocal Light Music study resources

Maharashtra HSC Vocal Light Music practice questions

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Question 1Vocal Practical Performance - light classical and light music compositions

A HSC light-music candidate performs a dadra composition. Which tala is most commonly used for this form?

  1. Deepchandi, with fourteen matras
  2. Dadra, with six matras Correct answer.
  3. Jhaptal, with ten matras
  4. Teental, with sixteen matras

Explanation

Dadra tala has six matras arranged in two vibhags of three, and the light classical dadra form is ordinarily set to it. Teental, Jhaptal and Deepchandi serve other forms and rhythmic settings.

Question 2Vocal Practical Performance - light classical and light music compositions

Which light classical form is known for shringar rasa, lyrical bols and a flexible treatment of raga?

  1. Dhrupad
  2. Tarana
  3. Thumri Correct answer.
  4. Khayal

Explanation

Thumri is a light classical form in which shringar rasa, lyrical bols and flexible raga treatment dominate. Its performers often expand the text through bol-banao rather than following the strict discipline of dhrupad or khayal.

Question 3Vocal Practical Performance - light classical and light music compositions

In Maharashtra's HSC vocal light-music syllabus, a song composed for performance within a Marathi musical play is called:

  1. Bhavageet
  2. Natya sangeet Correct answer.
  3. Lavani
  4. Ghazal

Explanation

Natya sangeet is the Marathi musical-theatre song genre, composed to advance the drama through song, expression and characterization. Ghazal, bhavageet and lavani belong to other light-music categories.

Question 4Vocal Practical Performance - light classical and light music compositions

In a ghazal, the word or phrase repeated after the qafiya in every sher is called the:

  1. radif Correct answer.
  2. matla
  3. maqta
  4. tarana

Explanation

In ghazal terminology, the radif is the repeated refrain that follows the qafiya in each sher. The matla is the opening couplet, the maqta is the closing couplet with the poet's pen name, and the qafiya is the rhyme.

Question 5Vocal Practical Performance - light classical and light music compositions

In thumri performance, 'bol-banao' refers to:

  1. ending the performance with a tarana
  2. improvising variations on the song's bols Correct answer.
  3. fixing the tabla to the singer's pitch
  4. singing the composition only in vilambit laya

Explanation

Bol-banao is the thumri technique of expanding and varying the song's words and rhythmic placement, often creating new textual-musical patterns. It is not a tuning procedure or a fixed structural ending.

Question 6Vocal Practical Performance - light classical and light music compositions

Which raga is a mainstay of thumri and belongs to Khamaj thaat?

  1. Bhairav
  2. Malkauns
  3. Todi
  4. Khamaj Correct answer.

Explanation

Raga Khamaj belongs to Khamaj thaat and is one of the ragas most closely associated with thumri and other light classical forms. Bhairav, Malkauns and Todi belong to other thaats and have different, more serious classical profiles.

Question 7Vocal Practical Performance - light classical and light music compositions

Which Marathi light-music genre is traditionally marked by brisk tempo, rhythmic footwork and shringar-based abhinaya?

  1. Bhavageet
  2. Ghazal
  3. Lavani Correct answer.
  4. Natya sangeet

Explanation

Lavani is a Marathi light-music genre characterized by brisk rhythm, dance-oriented footwork and shringar-based abhinaya. Bhavageet is more lyrical, natya sangeet is theatrical, and ghazal is an Urdu couplet form.

Question 8Vocal Practical Performance - light classical and light music compositions

In a ghazal, the couplet in which the poet includes his or her pen name is called the:

  1. radif
  2. qafiya
  3. matla
  4. maqta Correct answer.

Explanation

The maqta is the final couplet of a ghazal, where the poet usually inserts a pen name or takhallus. The matla opens the ghazal, the radif is the repeated refrain, and the qafiya is the rhyme.

Question 9Vocal Practical Performance - light classical and light music compositions

Which feature is most characteristic of Purab ang thumri?

  1. elaborate sargam tans in Teental
  2. exclusive use of nirgun devotional texts
  3. slower, ornate bol-banao with abhinaya Correct answer.
  4. strict vilambit khayal phraseology

Explanation

Purab ang thumri, associated especially with the Banaras tradition, favours slower, ornate bol-banao and expressive abhinaya. It does not follow strict vilambit khayal phraseology, and nirgun devotional texts belong more to bhajan traditions.

Question 10Vocal Practical Performance - light classical and light music compositions

In light-music accompaniment, what is 'laggi'?

  1. a stringed drone tuned to the singer's tonic
  2. an opening aalap before the composition
  3. a fixed composition in Jhaptal
  4. a fast tabla passage of repeating phrases Correct answer.

Explanation

Laggi is a tabla accompaniment pattern of short, repeating rhythmic phrases, usually played in a faster tempo in light-music settings. It is distinct from an opening aalap, a drone, or a fixed composition.

Question 11Vocal Practical Performance - light classical and light music compositions

A HSC light-music candidate sets a dadra composition to keharwa tala. How many matras does keharwa have?

  1. 6 matras
  2. 8 matras Correct answer.
  3. 10 matras
  4. 7 matras

Explanation

Keharwa is an eight-matra tala arranged in two equal vibhags of four matras each, with khali falling on matra five. Its plain, steady theka makes it the default cycle for dadra, bhajan and much sugam sangeet repertoire.

Question 12Vocal Practical Performance - light classical and light music compositions

In a light-music composition, the opening section that states the main melodic line and returns as the refrain is called the:

  1. Sanchari
  2. Abhog
  3. Sthai Correct answer.
  4. Antara

Explanation

Sthai is the first and principal section of a composition; it carries the mukhra and returns as the refrain after every antara. Antara develops the upper register with fresh text, while sanchari and abhog belong mainly to dhrupad-style structures.

Question 13Vocal Practical Performance - light classical and light music compositions

A singer decorates a bhajan line by touching one grace note briefly before the main note. This ornament is called:

  1. Murki
  2. Kan Correct answer.
  3. Khatka
  4. Zamzama

Explanation

Kan means a single grace note taken from a neighbouring swara and released immediately onto the main note, producing a subtle decoration. Murki and khatka use clusters of notes, while zamzama is a longer chain of rapid notes.

Question 14Vocal Practical Performance - light classical and light music compositions

Which 14-matra tala, with its characteristic 'dha dhin - dha' theka, is the standard tabla accompaniment for a thumri?

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

Explanation

Deepchandi is the fourteen-matra cycle normally played for thumri and dadra, and its relaxed, swaying theka suits the lyrical phrasing of the form. Its 3+4+3+4 division supports the gentle oscillation of thumri melodies.

Question 15Vocal Practical Performance - light classical and light music compositions

Which Marathi devotional light-music form, associated with saint-poets such as Tukaram and Namdev, is sung in a raga-based melody to a simple tala?

  1. Lavani
  2. Powada
  3. Abhang Correct answer.
  4. Gondhal

Explanation

Abhang are Varkari devotional songs set to saint-poet texts, sung in raga-derived melodies over a simple steady tala, often with call-and-response participation. The other forms are ritual, heroic or dance-oriented rather than congregational devotional song.

Question 16Vocal Practical Performance - light classical and light music compositions

Which light classical form, centred on the Banaras region, is sung in the rainy season and voices a woman's longing for her absent beloved?

  1. Hori
  2. Sohar
  3. Kajri Correct answer.
  4. Chaiti

Explanation

Kajri is a monsoon song of separation and longing strongly associated with the Banaras region, usually set in ragas such as Khamaj, Kafi or Pilu. Its plaintive text and slow delivery separate it from the springtime Chaiti and the festive Hori.

Question 17Vocal Practical Performance - light classical and light music compositions

A composer wants a thumri with a folksy flavour, allowing both shuddha and komal nishad in a free, non-rigid raga frame. Which raga best fits?

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

Explanation

Pilu is a light raga handled flexibly, admitting both forms of nishad along with touches of Kafi and Khamaj material, which suits the folksy, unbound mood of thumri. Bhairav, Todi and Marwa are serious ragas with fixed shapes and prescribed times.

Question 18Vocal Practical Performance - light classical and light music compositions

In ghazal terminology, the metre in which all couplets of a ghazal are composed is called:

  1. Beher Correct answer.
  2. Radif
  3. Qafiya
  4. Maqta

Explanation

Beher is the metrical pattern of the ghazal, and every sher must follow the same beher so that the recitation stays rhythmically unified. Radif and qafiya supply the refrain and rhyme, while maqta is the closing sher with the poet's name.

Question 19Vocal Practical Performance - light classical and light music compositions

Which statement best describes the treatment of raga in thumri when compared with khayal?

  1. Thumri follows a strict raga outline with alap, jod and taan.
  2. Thumri treats raga loosely and mixes phrases from related ragas. Correct answer.
  3. Thumri elaborates one raga in slow vilambit with vistaar.
  4. Thumri avoids raga and relies only on tala and bol patterns.

Explanation

Thumri uses raga as a loose frame that serves the words and bhava, so phrases from related ragas such as Khamaj, Kafi and Pilu may be blended within one item. Khayal, by contrast, demands systematic raga unfolding through alap, vistaar and taan in the chosen laya.

Question 20Vocal Practical Performance - light classical and light music compositions

A composer wants a seven-matra cycle in which the khali falls on the very first matra. Which tala meets this requirement?

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

Explanation

Rupak has seven matras divided 3+2+2, and its khali is placed on the opening matra, so khali and sam coincide, a feature singers must handle carefully. Jhaptal, dadra and keharwa all place khali elsewhere in the cycle.

Question 21Vocal Practical Performance - light classical and light music compositions

Within a light-music composition, the section that follows the sthayi, presents the second line of the song text, and usually moves into a higher register is called the:

  1. abhog
  2. sanchari
  3. vistar
  4. antara Correct answer.

Explanation

In light-music forms the sthayi is the recurring refrain, while the antara carries the next line and often rises in pitch. Sanchari and abhog are sections associated with dhrupad, and vistar means melodic expansion.

Question 22Vocal Practical Performance - light classical and light music compositions

In tala, the first matra of a cycle-where the main melodic line commonly returns-is called:

  1. khali
  2. sam Correct answer.
  3. vibhag
  4. tali

Explanation

Sam is the first and most important matra of a tala cycle, and performers often resolve rhythmic phrases there. Khali is an unstressed empty beat, tali is a clap, and vibhag is a division of the cycle.

Question 23Vocal Practical Performance - light classical and light music compositions

Which Marathi light-music genre is a non-devotional, non-stage song that expresses personal emotion and is usually set to a simple, lyrical melody?

  1. bhavgeet Correct answer.
  2. lavani
  3. abhang
  4. natya sangeet

Explanation

Bhavgeet is the Marathi light-song genre centred on personal feeling and poetic expression, usually with a simple melodic line. Abhang is devotional, lavani is a folk-dance form, and natya sangeet belongs to stage plays.

Question 24Vocal Practical Performance - light classical and light music compositions

In dadra tala, the khali falls on which matra?

  1. first matra
  2. fourth matra Correct answer.
  3. sixth matra
  4. third matra

Explanation

Dadra has six matras divided 3+3, with tali on matra 1 and khali on matra 4. Its common theka is 'dha dhi na / dha tu na', where the second group begins with the empty beat.

Question 25Vocal Practical Performance - light classical and light music compositions

In ghazal terminology, the opening couplet-where both lines share the qafiya and radif-is called the:

  1. matla Correct answer.
  2. sher
  3. maqta
  4. beher

Explanation

The matla is the first couplet of a ghazal and establishes the qafiya and radif for the poem. Maqta is the closing couplet with the poet's pen name, sher is any couplet, and beher is the metre.

Question 26Vocal Practical Performance - light classical and light music compositions

Which light classical form is associated with the Holi festival and is often sung in ragas such as Khamaj and Pilu?

  1. kajri
  2. chaiti
  3. hori Correct answer.
  4. dadra

Explanation

Hori is the Holi-themed light classical form, commonly set in ragas such as Khamaj and Pilu. Kajri belongs to the rainy season, chaiti to the month of Chait, and dadra is a general light classical form.

Question 27Vocal Practical Performance - light classical and light music compositions

A singer decorates a light-music line by playing a quick, oscillating cluster of three or four notes around a main note. This ornament is called:

  1. gamak
  2. murki Correct answer.
  3. kan
  4. meend

Explanation

Murki is a fast, cluster-like ornament in which three or four notes are sounded around a main note. Kan is a single grace note, meend is a glide, and gamak is a broader shake or heavy oscillation.

Question 28Vocal Practical Performance - light classical and light music compositions

In light-music performance, a short rhythmic phrase played or sung three times so that the final stroke lands on sam is called a:

  1. tihai Correct answer.
  2. laggi
  3. theka
  4. lehra

Explanation

A tihai repeats a rhythmic phrase three times and is calculated so that its final stroke falls on sam. Laggi is a lively accompaniment flourish, theka is the tabla's basic pattern, and lehra is a repeating melodic line.

Question 29Vocal Practical Performance - light classical and light music compositions

In Marathi sangeet natak, a 'pravesh geet' is best described as:

  1. a song sung by the sutradhar to introduce the play
  2. an entry song that introduces a character on stage Correct answer.
  3. a devotional song inserted into the play
  4. a closing song performed after the curtain falls

Explanation

Pravesh means entry, so a pravesh geet introduces a character as he or she comes on stage in Marathi sangeet natak. It is distinct from the opening invocation, the closing bharatvakya, and a devotional bhajan.

Question 30Vocal Practical Performance - light classical and light music compositions

Which feature most typically distinguishes a Marathi bhavgeet from a khayal?

  1. It is performed only in the monsoon with a fixed raga.
  2. It stresses the poetic line more than raga expansion. Correct answer.
  3. It is always sung in a seven-matra cycle without a refrain.
  4. It requires extended alap and nom-tom before the song.

Explanation

Bhavgeet is a light-song form in which the meaning and emotion of the poetic line shape the rendering, so raga expansion is limited. Khayal, by contrast, expects extended alap, badhat, and improvisation within the raga.

Question 31Vocal Practical Performance - light classical and light music compositions

Which Marathi light-music form is a fast, dance-oriented song associated with tamasha performances?

  1. Bhavgeet
  2. Abhang
  3. Natya geet
  4. Lavani Correct answer.

Explanation

Lavani is the Marathi dance-song form linked with tamasha, performed at a brisk tempo with a strong rhythmic pulse. Bhavgeet is a slower personal song, abhang is devotional, and natya geet belongs to musical theatre rather than tamasha.

Question 32Vocal Practical Performance - light classical and light music compositions

In a light-music recital, what does the term 'sangat' denote?

  1. The improvised rhythmic fill played by the tabla
  2. The solo melodic expansion by the main singer
  3. The accompanying support given by instruments or supporting singers Correct answer.
  4. The final rhythmic cadence on sam

Explanation

Sangat means accompaniment that supports the lead performer, typically from harmonium, tabla, or a supporting voice. It is distinct from the vocalist's solo expansion, a cadential arrival on sam, and the tabla's rhythmic fill.

Question 33Vocal Practical Performance - light classical and light music compositions

A light-music singer glides smoothly from one note to another without a break. Which ornament is this?

  1. Meend Correct answer.
  2. Khatka
  3. Tihai
  4. Kan

Explanation

Meend is a continuous glide between two notes, giving a smooth portamento effect in light classical singing. Khatka is a quick cluster of notes, kan is a brief grace note, and tihai is a rhythmic repetition ending on sam.

Question 34Vocal Practical Performance - light classical and light music compositions

In ghazal terminology, which couplet often carries the poet's pen name and closes the ghazal?

  1. Matla
  2. Maqta Correct answer.
  3. Behr
  4. Radif

Explanation

The maqta is the closing couplet of a ghazal, and it is where the poet may include the takhallus or pen name. Matla is the opening couplet, radif is the repeated refrain, and behr is the metre.

Question 35Vocal Practical Performance - light classical and light music compositions

Which light classical form is sung in the month of Chait and often describes spring, using ragas such as Khamaj?

  1. Dadra
  2. Chaiti Correct answer.
  3. Hori
  4. Kajri

Explanation

Chaiti takes its name from the month of Chait and is associated with spring, commonly using ragas like Khamaj. Kajri belongs to the rainy season, hori to Holi, and dadra is a general light classical form.

Question 36Vocal Practical Performance - light classical and light music compositions

Which 16-matra tala is widely used for lavani and other Marathi light-music items?

  1. Addha Correct answer.
  2. Rupak
  3. Jhoomra
  4. Dadra

Explanation

Addha is a 16-matra tala commonly used for lavani and several Marathi light forms, giving a sturdy rhythmic base for dance. Dadra has 6 matras, rupak has 7, and jhoomra has 14.

Question 37Vocal Practical Performance - light classical and light music compositions

In thumri, what is the technique of rhythmically dividing and recombining the syllables of the song text called?

  1. Tihai
  2. Bol banao
  3. Bol bant Correct answer.
  4. Sargam

Explanation

Bol bant is the rhythmic redistribution of the text's syllables in thumri, while bol banao is the broader melodic elaboration of the words. Sargam uses note names, and tihai is a triple rhythmic repetition.

Question 38Vocal Practical Performance - light classical and light music compositions

What is the basic repeating rhythmic pattern that identifies a tala, played by the tabla, called?

  1. Theka Correct answer.
  2. Laggi
  3. Khali
  4. Tihai

Explanation

The theka is the standard repeating pattern of a tala, and it lets listeners identify the cycle and its divisions. Laggi is a fast fill, tihai is a triple repetition ending on sam, and khali is the empty or unaccented beat.

Question 39Vocal Practical Performance - light classical and light music compositions

Which statement best distinguishes a dadra from a thumri in light classical performance?

  1. Dadra is accompanied by pakhawaj, while thumri is accompanied by mridangam.
  2. Dadra is always sung in raga Bhairav, while thumri is always sung in raga Khamaj.
  3. Dadra uses only devotional texts, while thumri uses only Urdu ghazal texts.
  4. Dadra is usually a short, metrically fixed song, while thumri allows freer rhythmic play and text elaboration. Correct answer.

Explanation

Dadra is generally a shorter light classical song set in a fixed tala such as dadra or keharwa. Thumri is more flexible, with expressive rubato and techniques like bol banao and bol bant, and it is not tied to one raga, text type, or accompaniment instrument.

Question 40Vocal Practical Performance - light classical and light music compositions

In a light-music ensemble, what is a short, fast rhythmic phrase played by the tabla between vocal lines called?

  1. Sam
  2. Laggi Correct answer.
  3. Theka
  4. Khali

Explanation

A laggi is a brief, fast rhythmic flourish that the tabla player uses to fill gaps or add energy between vocal phrases. Theka is the basic tala pattern, khali is an empty beat, and sam is the first matra of the cycle.

Question 41Vocal Practical Performance - light classical and light music compositions

In ghazal terminology, what is a single couplet-two lines that form one complete poetic unit-called?

  1. Sher Correct answer.
  2. Radif
  3. Qafiya
  4. Bahr

Explanation

A ghazal is built from independent couplets, and each such couplet is called a sher. The radif is the repeated refrain, the qafiya is the rhyme before it, and the bahr is the metre.

Question 42Vocal Practical Performance - light classical and light music compositions

Which eight-matra tala is the usual rhythmic base for simple bhavgeet and many light-music compositions?

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

Explanation

Keherwa has eight matras, usually grouped 4+4, and its straightforward flow makes it a default for bhavgeet and simple light-music items. Dadra has six matras, Rupak seven, and Jhaptal ten.

Question 43Vocal Practical Performance - light classical and light music compositions

Which percussion instrument provides the main rhythmic accompaniment in a traditional tamasha ensemble?

  1. Pakhawaj
  2. Mridangam
  3. Dholki Correct answer.
  4. Tabla

Explanation

The dholki is the main percussion instrument in tamasha and lavani, often supported by tasha and manjira. Pakhawaj belongs to dhrupad, while mridangam is a Carnatic drum.

Question 44Vocal Practical Performance - light classical and light music compositions

A light-music singer adds a short, forceful jerk or shake on a single note to sharpen the rhythm of a phrase. Which ornament is this?

  1. Murki
  2. Meend
  3. Khatka Correct answer.
  4. Zamzama

Explanation

Khatka is a quick, forceful shake or jerk on a note, used to accent a light-music phrase. Meend is a glide, murki is a cluster of notes, and zamzama is a rapid tremulous ornament.

Question 45Vocal Practical Performance - light classical and light music compositions

Which light classical form uses meaningless rhythmic syllables such as 'nom tom' and is often performed at a fast tempo?

  1. Tarana Correct answer.
  2. Thumri
  3. Bhajan
  4. Ghazal

Explanation

Tarana sets rhythmic syllables to raga phrases and is usually brisk, often closing a light classical set. Thumri and ghazal carry poetic text, while bhajan is devotional in character.

Question 46Vocal Practical Performance - light classical and light music compositions

Which light classical form is associated with the rainy season and is traditionally sung in the Awadh region?

  1. Hori
  2. Chaiti
  3. Tappa
  4. Kajri Correct answer.

Explanation

Kajri is a monsoon-season light classical song from the Awadh and Bhojpuri regions. Chaiti belongs to the month of Chait, Hori to Holi, and Tappa is a fast Punjabi form.

Question 47Vocal Practical Performance - light classical and light music compositions

Which raga is traditionally chosen to close a light-music recital, often for the final bhajan or thumri?

  1. Yaman
  2. Malkauns
  3. Bhairavi Correct answer.
  4. Bhairav

Explanation

Bhairavi is the conventional final raga of a Hindustani concert and suits the closing bhajan or thumri. Yaman is an evening raga, Bhairav a morning raga, and Malkauns a serious night raga.

Question 48Vocal Practical Performance - light classical and light music compositions

In Marathi light music, a 'pawada' is best described as:

  1. a devotional song of the Varkari tradition
  2. a slow, introspective personal song
  3. a heroic ballad with a marching pulse Correct answer.
  4. a seated, delicate dance-song

Explanation

A pawada is a heroic ballad describing battles and valour, delivered with strong declamation and a marching-like pulse. Abhang is devotional, bhavgeet introspective, and lavani dance-oriented.

Question 49Vocal Practical Performance - light classical and light music compositions

Which fourteen-matra tala is widely used in thumri and other light classical accompaniment?

  1. Dadra
  2. Sitarkhani
  3. Deepchandi Correct answer.
  4. Keherwa

Explanation

Deepchandi has fourteen matras and is a standard tala for thumri and other light classical accompaniment. Keherwa has eight matras, Dadra six, and Sitarkhani sixteen.

Question 50Vocal Practical Performance - light classical and light music compositions

Which variety of lavani is performed seated and emphasizes expressive singing rather than vigorous dance?

  1. Baithakichi lavani Correct answer.
  2. Tamasha lavani form
  3. Dholki lavani form
  4. Phadachi lavani form

Explanation

Baithakichi lavani is the seated variety, concentrating on expressive singing and subtle abhinaya. Phadachi lavani is the staged, standing variety with more vigorous dance.