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PSEB Matric Music Vocal practice questions

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Question 1Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In Hindustani vocal practice, what does the term 'alankar' most directly refer to?

  1. A patterned exercise that moves the voice through the notes of a raga in a fixed sequence Correct answer.
  2. The opening slow section of a khayal performance
  3. The rhythmic cycle used to accompany a bandish
  4. A decorative ornament applied to a single sustained note

Explanation

Alankar means ornamentation, and in practical training it refers to systematic note-pattern exercises (such as palte) that move through the raga's scale in ordered sequences. These build pitch accuracy, breath control and fluency before free improvisation. Alankars are exercises, not the structural sections of a composition.

Question 2Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A student sings the ascending and descending order of a raga's notes slowly without rhythm to establish the scale. Which practice is this?

  1. Aroh-avroh practice of the raga Correct answer.
  2. Palta in a fixed tala
  3. Sargam geet composition
  4. Tarana rendering

Explanation

Practising the aroh (ascending) and avroh (descending) sequence establishes the exact swaras and their order in the raga. This is the foundation before vistaar and bandish. It is done without a rhythmic cycle so the student can internalise the scale.

Question 3Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In khayal terminology, 'vistaar' refers to which process?

  1. Playing the tabla solo between two vocal lines
  2. Repeating the mukhda at double speed
  3. Gradual melodic expansion of the raga using its phrases and characteristic movements Correct answer.
  4. Changing the tala from teental to jhaptal

Explanation

Vistaar is the systematic unfolding of a raga, developing its phrases slowly and revealing its characteristic prayogas. In khayal it usually begins in the lower and middle register before moving upward. It is melodic development, not rhythmic or structural change.

Question 4Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which statement correctly describes the role of the mukhda in a khayal bandish?

  1. It is the fast concluding passage sung only with tabla accompaniment
  2. It is the opening line of the composition to which the singer returns after each improvisation Correct answer.
  3. It is the tuning phrase sung before the performance begins
  4. It is the name of the tala in which the bandish is set

Explanation

The mukhda is the first line of the bandish and acts as the anchor point, the singer returns to it after each passage of improvisation. It usually begins at or near the sam. Returning to the mukhda keeps the performance structurally coherent.

Question 5Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist wants to show the vadi swara prominently during vistaar. What is the vadi?

  1. The note on which the tala cycle begins
  2. The note omitted in the ascending scale
  3. The most important note of the raga, given the greatest emphasis Correct answer.
  4. The drone note of the tanpura

Explanation

The vadi is the principal or king note of a raga and receives the most emphasis in improvisation. Highlighting it during vistaar makes the raga's identity clear. It is distinct from sam, which is a rhythmic position.

Question 6Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which of these is the standard tuning reference used by a Hindustani vocalist to fix the tonic?

  1. The pitch of the previous performer
  2. The tanpura's drone on Sa Correct answer.
  3. The tabla's dayan drum head
  4. The harmonium's highest key

Explanation

The vocalist fixes Sa by tuning the tanpura drone, and all swaras are then measured relative to that tonic. The tabla is tuned to the performance but does not define Sa. Sa is a chosen reference pitch, not a fixed absolute pitch.

Question 7Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In a bandish, the section sung with meaning-bearing text in the lower register is usually called what?

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

Explanation

In khayal bandish the sthayi is the first section, set in the lower and middle register, and the antara follows in the upper register. The sthayi carries the mukhda and returns as the refrain. Sanchari and abhog belong to other compositional forms such as dhrupad.

Question 8Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A student practises singing the notes of a raga in groups of three, ascending step by step, in a steady tala. This drill is best described as which kind of exercise?

  1. Bol-bant improvisation
  2. Palta or alankar practice in threes Correct answer.
  3. Nom-tom alap
  4. Meend practice

Explanation

Singing notes in fixed numerical groups such as threes while ascending is a palta, a form of alankar exercise. It trains accuracy, speed and rhythmic placement. Meend is a glide, bol-bant uses text syllables, and nom-tom is a dhrupad-style alap.

Question 9Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

While singing vistaar in a raga, a vocalist deliberately avoids a particular note in the ascending line. What is that note called?

  1. Varjit swara Correct answer.
  2. Vadi
  3. Samvadi
  4. Komal swara

Explanation

A note that is excluded, usually in the aroh, is a varjit swara, and this omission is part of the raga's identity. Vadi and samvadi are the principal and secondary notes. Komal describes a flattened pitch, not an omitted one.

Question 10Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In teental, which beat is sam, and why does the vocalist time the mukhda to it?

  1. Beat 1, because sam is the point of rhythmic resolution and the natural home of the mukhda Correct answer.
  2. Beat 9, because that is where the khali falls
  3. Beat 5, because it begins the second vibhag
  4. Beat 13, because it starts the final section

Explanation

Sam is the first beat of the cycle and the point of greatest rhythmic resolution, so the mukhda is usually placed to arrive there. Returning to sam after improvisation gives the listener a sense of completion. Khali is an unaccented section, not the resolution point.

Question 11Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A singer performs a fast khayal in teental and wants to place a tihai before returning to the mukhda. What is a tihai?

  1. A slow descending glide across the octave
  2. A three-times repeated phrase that lands on sam Correct answer.
  3. A two-line composition in the upper register
  4. A rhythmic cycle of seven beats

Explanation

A tihai is a phrase sung three times so that its final note falls exactly on sam or another chosen beat. It creates tension and resolution and is common before returning to the mukhda. It is not a glide, a composition section or a tala.

Question 12Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which pair correctly matches a raga with a time of day traditionally associated with its performance?

  1. Malkauns with midday
  2. Yaman with early morning
  3. Bhoopali with midnight
  4. Bhairav with late morning Correct answer.

Explanation

Bhairav is traditionally associated with the early to late morning hours, which suits its slow, serene character. Yaman is an evening raga, Bhoopali is also an evening raga, and Malkauns is associated with late night. Time association is a traditional convention that guides programme planning.

Question 13Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

During alap in a khayal performance, the tabla is normally silent. What is the main purpose of this section?

  1. To announce the tala that will follow
  2. To display fast rhythmic patterns with the tabla
  3. To unfold the raga freely without rhythmic accompaniment before the bandish begins Correct answer.
  4. To tune the tanpura to the singer's voice

Explanation

Alap introduces the raga in free rhythm, without tabla, allowing the singer to establish its phrases and mood. The rhythmic bandish follows once the raga's character is clear. Fast rhythmic patterns belong to later sections with tabla.

Question 14Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist sings a phrase that glides smoothly from one note to another without a break. Which ornament is this?

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

Explanation

Meend is a continuous glide from one swara to another, produced without articulating the intermediate notes. Kan is a light touch on a neighbouring note, khatka is a sharp cluster of notes, and murki is a quick ornamental turn. Meend is central to expressive raga singing.

Question 15Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In a madhya laya khayal, the singer moves from the sthayi into the antara. What usually changes at this point?

  1. The singer repeats the mukhda at double speed
  2. The tabla stops and alap resumes
  3. The melody moves into the upper register with the second line of the composition Correct answer.
  4. The tala changes to a different cycle

Explanation

The antara is the second section of the bandish and typically takes the melody into the upper register, using the second line of the text. The tala normally stays the same. The shift is registral and textual, giving contrast to the sthayi.

Question 16Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which statement best explains why a vocalist practises alankars in several different talas?

  1. Because alankars cannot be sung without tabla
  2. Because each tala changes the notes of the raga
  3. To develop the ability to place the same melodic pattern accurately against different rhythmic frameworks Correct answer.
  4. To avoid practising the aroh and avroh of the raga

Explanation

Singing the same pattern in different cycles trains the singer to feel the vibhags and place phrases accurately regardless of the tala. The notes of the raga do not change with the tala. This flexibility is essential for improvisation in performance.

Question 17Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A singer wants to show the characteristic phrase of raga Yaman at the start of vistaar. Which note treatment is essential to Yaman's identity?

  1. Shuddha Madhyam in both directions
  2. Komal Nishad in the descent
  3. Tivra Madhyam in the ascent Correct answer.
  4. Komal Gandhar in the ascent

Explanation

Yaman uses tivra Madhyam, the raised fourth, and this note is central to its identity, especially in the ascending line. Komal Gandhar belongs to ragas such as Bhairav, and komal Nishad to ragas such as Kafi. The raised Madhyam distinguishes Yaman from ragas using shuddha Madhyam.

Question 18Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In a khayal performance, what is the function of a 'bol-alaap'?

  1. Singing only the sargam names of the notes at high speed
  2. Repeating the tihai three times
  3. Singing the words of the bandish in a slow, improvised manner before the rhythmic composition settles Correct answer.
  4. Playing the tabla in a solo passage

Explanation

Bol-alaap uses the words of the composition for slow, free improvisation, often before the bandish is taken up in rhythm. It links the text to melodic development. Sargam singing, tabla solos and tihai are different devices.

Question 19Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A student's bandish begins on beat 7 of a sixteen-beat cycle and the mukhda resolves on sam. Which description fits this placement?

  1. The mukhda begins on the last beat of the cycle
  2. The mukhda begins exactly on sam
  3. The mukhda begins on khali and never reaches sam
  4. The mukhda begins before sam and lands on sam, a common off-beat entry Correct answer.

Explanation

Many bandish mukhda begin a few beats before sam so that the phrase resolves on the first beat, creating a satisfying arrival. This off-beat entry is a standard compositional device. It is not the same as starting directly on sam.

Question 20Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Why does a vocalist usually develop vistaar first in the lower and middle register before moving to the upper register?

  1. Because the tabla cannot accompany high notes
  2. To save breath for the tihai
  3. To establish the raga's identity clearly in a comfortable range before extending it upward Correct answer.
  4. Because the upper register is forbidden in khayal

Explanation

Vistaar typically begins in the lower and middle register, where the raga's key phrases and vadi can be established clearly. Only then does the singer extend into the upper register, often through the antara. This is a matter of gradual, controlled development, not a prohibition.

Question 21Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A performer sings a sargam passage in which the note names are sung in fast rhythm, then follows with a tihai. What does this sequence mainly demonstrate?

  1. Control of both melodic fluency and rhythmic calculation Correct answer.
  2. The difference between dhrupad and khayal
  3. The ability to change the raga mid-performance
  4. The tuning of the tanpura

Explanation

Fast sargam shows melodic fluency and accurate pitch at speed, while the tihai demands precise rhythmic calculation to land on sam. Together they display two complementary skills. Neither device changes the raga or concerns tuning.

Question 22Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist notices that a particular phrase sounds ambiguous between two ragas and resolves the ambiguity by emphasising the vadi. Why does this work?

  1. Because the vadi is always the highest note of the raga
  2. Because emphasising any note changes the raga's scale
  3. Because the vadi determines the tala
  4. Because the emphasised principal note clarifies which raga's phrase structure is being followed Correct answer.

Explanation

When phrases overlap between ragas, emphasising the vadi, together with the characteristic aroh-avroh, signals which raga is intended. The vadi is not necessarily the highest note and has nothing to do with tala. Clarification comes from the raga's own grammar.

Question 23Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In a slow khayal (bada khayal), which combination best describes a well-shaped presentation?

  1. Alap, then sthayi with gradual vistaar, then antara, then faster taans returning to the mukhda Correct answer.
  2. Only the mukhda repeated without improvisation
  3. Tabla solo, then sargam geet, then tuning
  4. Tihai, then tarana, then alap, then bandish

Explanation

A bada khayal typically opens with alap, establishes the sthayi, develops it through gradual vistaar, moves to the antara, and later introduces faster taans before returning to the mukhda. This order builds from free rhythm to rhythmic elaboration. The other sequences place sections in illogical order.

Question 24Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which statement correctly distinguishes aroh from avroh in raga practice?

  1. Aroh is the descending order and avroh the ascending order
  2. Aroh applies only to instrumental music
  3. Aroh is the ascending order and avroh the descending order Correct answer.
  4. Both terms refer to the rhythmic cycle

Explanation

Aroh is the ascending sequence of a raga's notes and avroh is the descending sequence. Ragas may use different notes in each direction, which is why both are practised separately. The terms describe pitch direction, not rhythm or instrumentation.

Question 25Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A singer wants to practise a bandish in jhaptal. How many beats does jhaptal have?

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

Explanation

Jhaptal is a ten-beat cycle, divided into sections of two, three, two and three beats. Six beats is dadra or tintal's half, seven is rupak, and twelve is ektaal. Knowing the beat count helps the singer place the mukhda and tihai correctly.

Question 26Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist wants to establish the vadi note of a raga clearly during the opening vistaar. Which approach best serves this aim?

  1. Sing every note of the raga with exactly equal duration and stress
  2. Begin directly on the upper Sa and descend quickly to the mandra register
  3. Repeat and dwell on the vadi with gentle ornament, letting phrases return to it Correct answer.
  4. Avoid the vadi until the antara and concentrate on the samvadi instead

Explanation

The vadi is the raga's principal note, so phrases that linger on it with meend and kan make the raga's identity immediately clear to the listener. Other notes support it rather than replace it during the opening development.

Question 27Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In khayal terminology, what does the term 'pakad' refer to?

  1. The rhythmic pattern played by the tabla in a bandish
  2. The final cadential stroke that lands on sam
  3. The set of note names recited in sargam practice
  4. A short characteristic phrase that reveals the raga's identity Correct answer.

Explanation

The pakad is a compact phrase, often including the vadi and characteristic movements, that instantly identifies a raga. Singers use it to check that their improvisation has not strayed into a neighbouring raga.

Question 28Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A student sings the aroh of a raga using only the notes that the raga permits while ascending. What is this practice called?

  1. Tihai in the sthayi
  2. Alankar in a tala cycle
  3. Aroh in shuddha sargam with the raga's own note set Correct answer.
  4. Bol-alaap in the antara

Explanation

Ascending practice that respects the raga's permitted notes and order is aroh sung in sargam. It trains the voice to move only through the raga's own material before improvisation begins.

Question 29Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which ornament is produced by a rapid, light oscillation around a single note?

  1. Kan
  2. Murki Correct answer.
  3. Meend
  4. Gamak

Explanation

A murki is a quick, fluttering cluster of notes around a main note, delivered fast enough to sound like an ornament rather than a melody. It differs from a single grace note and from a slow glide.

Question 30Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In a bandish, which line normally carries the higher-register text and answers the sthayi?

  1. Mukhda
  2. Sthayi
  3. Antara Correct answer.
  4. Sanchari

Explanation

The antara is the second section of a bandish and generally moves into the upper register, often touching the taar saptak. The sthayi stays in the lower and middle register and states the opening theme.

Question 31Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A singer wishes to practice a raga in a seven-beat cycle. Which tala should be chosen?

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

Explanation

Rupak is the common seven-beat tala, with divisions of three, two and two. Its khali falls on the first beat, which makes it distinctive in practice.

Question 32Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which laya term describes a tempo roughly double the slow, expansive speed used for bada khayal?

  1. Ati vilambit
  2. Madhya Correct answer.
  3. Ati drut
  4. Vilambit

Explanation

Madhya laya is the medium tempo that sits between the slow vilambit and the fast drut. It is commonly used for chhota khayal and for faster compositions.

Question 33Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In a khayal, what is the main function of the sthayi?

  1. To state the opening theme in the lower and middle register and return to sam Correct answer.
  2. To introduce the tabla solo before the composition
  3. To present the tihai that ends the performance
  4. To display the upper register with taar saptak phrases

Explanation

The sthayi establishes the raga and the rhythmic identity of the bandish in the lower and middle register. Its mukhda is the phrase that repeatedly returns to sam.

Question 34Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist sings a phrase in which each note name is sung clearly and in order, without rhythmic repetition. Which practice is this?

  1. Sargam Correct answer.
  2. Bol-alaap
  3. Nom-tom
  4. Tarana

Explanation

Sargam is the singing of note names such as Sa, Re, Ga in melodic phrases. It is used both for practice and for display in performance.

Question 35Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

During vistaar, a singer moves from the lower register gradually into the upper register. What is the main reason for this order?

  1. It hides any mistakes in the upper register from the audience
  2. It builds the raga's identity from its stable base before extending the range Correct answer.
  3. It shortens the performance by skipping the antara
  4. It allows the tabla to change its theka halfway through

Explanation

Vistaar unfolds from the mandra and madhya registers, where the raga's vadi and pakad are clearest, and only then extends upward. This gives the listener a firm sense of the raga before the range widens.

Question 36Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist sings a tihai whose three repetitions end exactly on sam. What is true of the phrase's starting point?

  1. It must begin exactly halfway through the cycle in every tala
  2. It must begin one full cycle before sam so that the third repetition lands on sam Correct answer.
  3. It must begin on khali so that sam is avoided
  4. It must begin on sam and then move forward three beats

Explanation

A tihai is a phrase sung three times with equal gaps, and the final note of the third repetition is placed on sam. The singer therefore calculates the starting beat backwards from sam so that the arithmetic works out.

Question 37Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A singer performs a bandish whose mukhda begins on the ninth beat of a sixteen-beat cycle and resolves on sam. Which statement is correct?

  1. The mukhda is offset from sam and the phrase spans the approach to the next sam Correct answer.
  2. The mukhda cannot resolve on sam if it starts on the ninth beat
  3. The mukhda is on sam because sixteen beats always begin on sam
  4. The mukhda is on khali because the ninth beat is khali in teental

Explanation

In teental the ninth beat is the start of the third vibhag, so a mukhda beginning there sits away from sam and travels across the cycle to resolve on the next sam. This offset gives the bandish its characteristic catch.

Question 38Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which practice best develops accurate intonation when singing meend between two notes?

  1. Adding a loud stroke of the tabla at each note change
  2. Singing both notes quickly and skipping the space between them
  3. Sustaining the starting note, gliding slowly, and stopping precisely on the target note Correct answer.
  4. Repeating the target note many times before the glide

Explanation

Meend requires control of pitch across the whole glide, so slow practice from a steady starting note to an exact target note builds accuracy. Speed is added only after the path is secure.

Question 39Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist wants to show that a raga uses komal Ga in ascent but shuddha Ga in descent. Which element of raga practice is being demonstrated?

  1. A single fixed scale with no variation
  2. The samvadi of the raga
  3. Different note forms in aroh and avroh Correct answer.
  4. The theka of the tala

Explanation

Many ragas use different forms of a note in ascent and descent, and this asymmetry is part of the raga's identity. The singer must follow the aroh and avroh forms rather than a single fixed scale.

Question 40Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In a bada khayal, which sequence best represents a well-shaped presentation?

  1. Tabla solo, sargam, drut taans, then alap in the upper register
  2. Alap, vistaar with increasing movement, sthayi and antara, then bol-alaap and taans leading to a tihai Correct answer.
  3. Tihai, tarana, antara, alap, then the sthayi at the end
  4. Antara first, then alap, then the sthayi, ending on khali

Explanation

Bada khayal normally opens with unmetred alap and develops through vistaar before the bandish sections are presented. Faster elaboration such as bol-alaap and taans comes later, often closing with a tihai.

Question 41Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A student sings an alankar that ascends Sa Re Ga, Re Ga Ma, Ga Ma Pa in a steady tala. Which skill does this drill mainly develop?

  1. Control of the khali section of the tala
  2. Recognition of the samvadi note
  3. Knowledge of the theka's bols
  4. Evenness of breath and pitch across a moving pattern Correct answer.

Explanation

Pattern exercises in groups of three train steady breath support and accurate pitch as the voice moves step by step. The tala keeps the pattern regular so that the student can hear any unevenness.

Question 42Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist sings the words of the bandish in a rhythmic, unmetred style before the tabla enters. Which term best describes this?

  1. Tarana
  2. Sargam geet
  3. Bol-alaap Correct answer.
  4. Chhota khayal

Explanation

Bol-alaap uses the text of the composition for free melodic expansion, often before the rhythmic accompaniment is established. It connects the words of the bandish with the improvisation.

Question 43Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

When a singer's vistaar phrase begins to sound like a different raga, which check is most useful?

  1. Compare the phrase with the pakad and the vadi of the intended raga Correct answer.
  2. Shift the phrase to the upper register and repeat it
  3. Increase the tempo until the phrase becomes a taan
  4. Add a tihai so that the phrase lands on sam

Explanation

The pakad and vadi define the raga's characteristic shape, so a phrase that drifts away from them signals a loss of identity. Returning to those anchors restores the intended raga.

Question 44Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Which statement correctly distinguishes aroh from avroh?

  1. Aroh is the descending order and avroh is the ascending order
  2. Aroh is the rhythmic cycle and avroh is the melodic phrase
  3. Aroh is the fast tempo and avroh is the slow tempo
  4. Aroh is the ascending order of the raga's notes and avroh is the descending order Correct answer.

Explanation

Aroh describes how the raga's notes are arranged going upward, and avroh describes the downward arrangement. The two may differ in the notes used and in their order.

Question 45Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A performer sings a fast sargam passage and then a tihai. What does the tihai add to the passage's ending?

  1. A switch from sargam to bol-alaap
  2. A slow unmetred alap in the lower register
  3. A thrice-repeated phrase that lands decisively on sam Correct answer.
  4. A change of tala from teental to jhaptal

Explanation

The tihai repeats a phrase three times and places the final note on sam, giving the passage a strong rhythmic conclusion. It does not change the raga or the tala.

Question 46Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist deliberately delays the resolution of a phrase and then lands it firmly on the vadi. What effect does this produce?

  1. A shift from khayal to dhrupad style
  2. Tension followed by release that strengthens the raga's identity Correct answer.
  3. A change of tala that the tabla must follow
  4. A loss of the raga's identity that requires a restart

Explanation

Delaying resolution creates expectancy, and landing on the vadi releases it while confirming the raga's main note. This is a standard device for shaping a phrase in khayal.

Question 47Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

In teental, which beats are khali and what does the vocalist do there?

  1. The seventh beat is khali, and the singer usually lightens the phrase rather than treating it as a point of rest Correct answer.
  2. The thirteenth beat is khali, and the singer doubles the tempo
  3. The first beat is khali, and the singer lands the mukhda there
  4. The ninth beat is khali, and the singer stops singing entirely

Explanation

In teental the seventh beat opens the third vibhag and is marked khali, where the tabla sound is lighter. Singers shape phrases around this lighter point instead of resting on it as they would on sam.

Question 48Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A singer plans to present a raga whose vadi is Pa and whose samvadi is Re. Which approach best reflects this hierarchy during vistaar?

  1. Develop phrases around Pa and let Re support them at important moments Correct answer.
  2. Treat Re as the main note and use Pa only as a passing tone
  3. Avoid Pa entirely until the drut section
  4. Give equal weight to every note so that no hierarchy is heard

Explanation

The vadi receives the greatest emphasis and the samvadi secondary emphasis, so phrases should centre on Pa with Re providing support. This hierarchy is what makes the raga recognisable.

Question 49Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

A vocalist wants to end a khayal performance with a strong rhythmic conclusion in teental. Which device is most appropriate?

  1. A change to a seven-beat cycle without warning
  2. An unmetred alap in the mandra register
  3. A gradual slowing of the theka to ati vilambit
  4. A tihai whose third repetition lands on sam Correct answer.

Explanation

A tihai built to land its final note on sam gives a clear, calculated ending that the listener can anticipate. It is a standard closing device in khayal performance.

Question 50Hindustani vocal practical performance: raga presentation with alankars, vistaar and bandish

Two ragas share the same notes but differ in their vadi and in characteristic phrases. What does this show about raga identity?

  1. Identity depends only on the number of notes in the scale
  2. Identity depends on the tala in which the raga is sung
  3. Identity depends on phrase treatment and note hierarchy, not on the note set alone Correct answer.
  4. Identity depends on the tempo chosen by the tabla player

Explanation

Ragas with identical scales are distinguished by their vadi, pakad and characteristic movements. This is why a singer must learn phrases rather than only the scale.