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PSEB SS Music Instrumental practice questions

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Question 1Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Yaman is traditionally performed in which prahar?

  1. Third prahar of the afternoon
  2. First prahar of the day
  3. Fourth prahar of the night
  4. First prahar of the night Correct answer.

Explanation

Yaman is an evening sandhi-prakash raga assigned to the first prahar of the night, roughly 6–9 pm. Its vadi Ga and samvadi Ni are used in phrases that establish this early-night placement.

Question 2Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In Raga Malkauns, which pair correctly states the vadi and samvadi?

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

Explanation

Malkauns is an audav raga using Sa, komal Ga, Ma, komal Dha and komal Ni; its vadi is Ma and its samvadi is Sa. The pair Ma–Sa therefore matches the raga's principal and supporting notes.

Question 3Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which two swaras are komal in both the aroha and avaroha of Raga Bhairav?

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

Explanation

Bhairav uses komal Re and komal Dha in both aroha and avaroha, while Ga, Ma, Pa and Ni remain shuddha. These two komal notes give the raga its characteristic morning, devotional colour.

Question 4Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which raga has the aroha Sa–Ga(komal)–Ma–Dha(komal)–Ni(komal)–Sa and the avaroha Sa–Ni(komal)–Dha(komal)–Ma–Ga(komal)–Sa?

  1. Asavari
  2. Malkauns Correct answer.
  3. Darbari Kanada
  4. Bhimpalasi

Explanation

The aroha and avaroha use five notes, Sa Ga(komal) Ma Dha(komal) Ni(komal) Sa, omitting Re and Pa; this identifies Malkauns. Bhimpalasi, Darbari Kanada and Asavari all include Re in their ascent or descent.

Question 5Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which phrase is the pakad of Raga Khamaj?

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

Explanation

Khamaj's pakad ascends through Ga Ma Pa Dha Ni Sa and returns Ni Dha Pa Ma Ga Re Sa, showing its characteristic Khamaj thaat phrases. The tivra Ma phrase belongs to Yaman, and the komal Ga phrase belongs to Kafi.

Question 6Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Bhimpalasi is assigned to which prahar?

  1. First prahar of the night
  2. Fourth prahar of the night
  3. Second prahar of the morning
  4. Third prahar of the day Correct answer.

Explanation

Bhimpalasi is a late-afternoon raga assigned to the third prahar of the day, roughly 3–6 pm. Its vadi Ma and samvadi Sa are elaborated in that afternoon time slot.

Question 7Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In Raga Darbari Kanada, which pair correctly states vadi and samvadi?

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

Explanation

Darbari Kanada has Re as its vadi and Pa as its samvadi. Its slow, gamak-heavy elaboration is traditionally placed in the third prahar of the night.

Question 8Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which raga has the aroha Sa–Re(komal)–Ga(komal)–Ma(tivra)–Pa–Dha(komal)–Ni–Sa?

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

Explanation

Todi is characterised by komal Re, komal Ga, tivra Ma, komal Dha and shuddha Ni, giving the aroha Sa Re(komal) Ga(komal) Ma(tivra) Pa Dha(komal) Ni Sa. Asavari uses shuddha Ma and komal Ni, while Bhairav uses shuddha Ma and shuddha Ni.

Question 9Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

The pakad 'Ni Re Ga Ma(tivra) Pa, Ma(tivra) Ga Re Sa' belongs to which raga?

  1. Marwa
  2. Puriya Dhanashri
  3. Yaman Correct answer.
  4. Todi

Explanation

Yaman's pakad uses shuddha Ni and Re with tivra Ma, often phrased Ni Re Ga Ma(tivra) Pa and returning Ma(tivra) Ga Re Sa. Marwa omits Pa, while Puriya Dhanashri and Todi use different komal note patterns.

Question 10Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which sequence correctly gives the avaroha of Raga Kafi?

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

Explanation

Kafi uses komal Ga and komal Ni, with shuddha Re, Ma, Pa and Dha; its avaroha is therefore Sa Ni(komal) Dha Pa Ma Ga(komal) Re Sa. The other options introduce shuddha Ni, komal Dha or shuddha Ga incorrectly.

Question 11Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Bhairav is prescribed for which prahar of the day?

  1. First prahar of the morning Correct answer.
  2. Third prahar of the afternoon
  3. Second prahar of the morning
  4. First prahar of the night

Explanation

Bhairav belongs to the first prahar of the morning, roughly 6 to 9 a.m., and its grave, devotional character suits that hour. In the prescribed theory syllabus, this time assignment is a standard identification point for Bhairav.

Question 12Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In the aroha of Raga Bhairavi, which swaras are komal?

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

Explanation

Bhairavi uses komal Re, Ga, Dha and Ni in both aroha and avaroha, while Ma and Pa remain shuddha. The ascending line is Sa Re(komal) Ga(komal) Ma Pa Dha(komal) Ni(komal) Sa.

Question 13Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Malkauns is traditionally assigned to which prahar?

  1. First prahar of the morning
  2. Second prahar of the afternoon
  3. Third prahar of the night Correct answer.
  4. First prahar of the night

Explanation

Malkauns is a late-night raga placed in the third prahar of the night, approximately midnight to 3 a.m. Its grave pentatonic structure is taught with this time assignment in the prescribed syllabus.

Question 14Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Todi is prescribed for which prahar?

  1. First prahar of the morning
  2. Third prahar of the afternoon
  3. Second prahar of the morning Correct answer.
  4. First prahar of the night

Explanation

Todi is a morning raga assigned to the second prahar, roughly 9 a.m. to noon. It follows Bhairav in the morning cycle and is recognised by komal Re, Ga and Dha with tivra Ma.

Question 15Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which pair correctly states the vadi and samvadi of Raga Yaman?

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

Explanation

Yaman's vadi is Ga and its samvadi is Ni; the raga is expanded around these two pivotal notes. It uses tivra Ma and is placed in the first prahar of the night.

Question 16Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In Raga Bhimpalasi, which pair correctly states vadi and samvadi?

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

Explanation

Bhimpalasi takes Ma as vadi and Sa as samvadi, and its aroha omits Re and Dha in the ascent. It is an afternoon raga assigned to the third prahar.

Question 17Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which pair correctly states the vadi and samvadi of Raga Bhairav?

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

Explanation

Bhairav's vadi is komal Dha and its samvadi is komal Re; both are emphasised in its characteristic phrases. The raga also uses shuddha Ga and Ni with komal Re and Dha.

Question 18Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In Raga Khamaj, which pair correctly states vadi and samvadi?

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

Explanation

Khamaj has Ga as vadi and Ni as samvadi, with Ni often treated delicately in the avaroha. It belongs to the Khamaj thaat and is a night raga.

Question 19Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Bhairav and Raga Bhairavi both use komal Re and komal Dha. Which statement correctly distinguishes their swara sets?

  1. Bhairav uses tivra Ma, while Bhairavi uses shuddha Ma only in the aroha.
  2. Bhairav has shuddha Ga and Ni, while Bhairavi has komal Ga and Ni. Correct answer.
  3. Bhairav omits Pa, while Bhairavi includes both Ma and Pa.
  4. Bhairav has komal Ga and Ni, while Bhairavi has shuddha Ga and Ni.

Explanation

Bhairav keeps Ga and Ni shuddha and adds komal Re and Dha, whereas Bhairavi makes Ga and Ni komal as well. Both retain shuddha Ma and Pa, so the treatment of Ga and Ni is the decisive difference.

Question 20Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which pair correctly states the vadi and samvadi of Raga Todi?

  1. Dha(komal) and Ga(komal) Correct answer.
  2. Ga(komal) and Ni(komal)
  3. Re(komal) and Pa
  4. Ma(tivra) and Sa

Explanation

Todi's vadi is komal Dha and its samvadi is komal Ga; these notes shape its descending pakad phrases. The raga also uses komal Re, komal Dha, tivra Ma and shuddha Pa.

Question 21Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which sequence correctly gives the avaroha of Raga Malkauns?

  1. Sa Ni(komal) Dha(komal) Ma Ga(komal) Sa Correct answer.
  2. Sa Ni Dha(komal) Ma Ga(komal) Sa
  3. Sa Ni(komal) Dha Ma Ga(komal) Sa
  4. Sa Dha(komal) Ni(komal) Ma Ga(komal) Sa

Explanation

Malkauns is a pentatonic raga using komal Ga, Dha and Ni; its descent moves Sa–Ni(komal)–Dha(komal)–Ma–Ga(komal)–Sa. The shuddha Ni and shuddha Dha forms do not belong to its basic scale.

Question 22Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which sequence correctly gives the avaroha of Raga Yaman?

  1. Sa Ni(komal) Dha Pa Ma(tivra) Ga Re Sa
  2. Sa Ni Dha Pa Ma Ga Re Sa
  3. Sa Ni Dha Pa Ma(tivra) Ga Re Sa Correct answer.
  4. Sa Dha Pa Ma(tivra) Ga Re Sa

Explanation

Yaman uses tivra Ma in both aroha and avaroha, with all other swaras shuddha. Its avaroha is Sa–Ni–Dha–Pa–Ma(tivra)–Ga–Re–Sa.

Question 23Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which swara is komal in the aroha of Raga Kafi?

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

Explanation

Kafi uses komal Ni, while Re, Ga and Dha are shuddha in its basic scale. The komal Ni is heard in both its aroha and avaroha.

Question 24Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In Raga Bhairavi, which pair correctly states the vadi and samvadi?

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

Explanation

Bhairavi's vadi is Ma and its samvadi is Sa; this pair defines the main tonal emphasis of the raga. Pa, Ga, Ni, Re and Dha are not the vadi–samvadi pair.

Question 25Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Darbari Kanada is traditionally assigned to which prahar?

  1. First prahar of the night (6 p.m. to 9 p.m.)
  2. Second prahar of the night (9 p.m. to midnight)
  3. Fourth prahar of the night (3 a.m. to 6 a.m.)
  4. Third prahar of the night (midnight to 3 a.m.) Correct answer.

Explanation

Darbari Kanada is a late-night raga, placed in the third prahar of the night. Its grave and expansive phrases are considered especially suited to that hour.

Question 26Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which sequence correctly gives the avaroha of Raga Todi?

  1. Sa Ni(komal) Dha(komal) Ma(tivra) Ga(komal) Re(komal) Sa Correct answer.
  2. Sa Ni Dha(komal) Ma(tivra) Ga(komal) Re(komal) Sa
  3. Sa Ni(komal) Dha(komal) Ma Ga(komal) Re(komal) Sa
  4. Sa Ni(komal) Dha Ma(tivra) Ga(komal) Re(komal) Sa

Explanation

Todi's avaroha is Sa–Ni(komal)–Dha(komal)–Ma(tivra)–Ga(komal)–Re(komal)–Sa. The tivra Ma and komal Re, Ga, Dha and Ni are essential to its basic scale.

Question 27Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Kafi is traditionally performed in which prahar?

  1. First prahar of the morning (6 a.m. to 9 a.m.)
  2. Second prahar of the night (9 p.m. to midnight) Correct answer.
  3. First prahar of the night (6 p.m. to 9 p.m.)
  4. Third prahar of the night (midnight to 3 a.m.)

Explanation

Kafi is assigned to the second prahar of the night, when its komal Ni and characteristic phrases are considered effective. It is not an early-morning raga.

Question 28Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Todi and Raga Bhairavi both use komal Re, Ga, Dha and Ni. Which statement correctly distinguishes their basic swara sets?

  1. Todi uses Ma(tivra), while Bhairavi uses shuddha Ma. Correct answer.
  2. Todi uses shuddha Ni, while Bhairavi uses komal Ni.
  3. Todi uses shuddha Ma, while Bhairavi uses Ma(tivra).
  4. Todi omits Pa, while Bhairavi includes Pa.

Explanation

The decisive difference is Ma: Todi has tivra Ma, while Bhairavi has shuddha Ma. Both ragas share komal Re, Ga, Dha and Ni, and both include Pa in their basic aroha.

Question 29Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which pair of komal swaras appears in Raga Darbari Kanada?

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

Explanation

Darbari Kanada uses komal Ga and komal Ni; Re and Dha are shuddha. Its characteristic phrases depend on these two komal notes.

Question 30Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which phrase is the pakad of Raga Yaman?

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

Explanation

Yaman's pakad is commonly given as Ni–Re–Ga–Re–Sa, which highlights its shuddha Ni and the approach to Ga. The tivra Ma appears in fuller phrases, but this compact pakad identifies the raga.

Question 31Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which sequence correctly gives the aroha of Raga Malkauns?

  1. Sa Re Ga Ma Pa Dha Ni Sa
  2. Sa Ga(k) Ma Dha(k) Ni(k) Sa Correct answer.
  3. Sa Ga Ma Pa Dha Ni Sa
  4. Sa Re(k) Ga Ma Pa Dha(k) Ni Sa

Explanation

Raga Malkauns is pentatonic and omits Re and Pa. Its aroha rises Sa–Ga(k)–Ma–Dha(k)–Ni(k)–Sa, with komal Ga, Dha and Ni. The other sequences include notes outside its basic set.

Question 32Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In the commonly prescribed aroha of Raga Khamaj, which swara is omitted?

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

Explanation

The usual aroha of Khamaj is Sa Ga Ma Pa Dha Ni Sa; Re is left out in ascent but appears in the avaroha. Ga, Pa and Ni are all present in the aroha.

Question 33Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Bhimpalasi is traditionally prescribed for which prahar?

  1. Second prahar of the day
  2. First prahar of the night
  3. Fourth prahar of the night
  4. Third prahar of the day Correct answer.

Explanation

Bhimpalasi belongs to the late afternoon, conventionally the third prahar of the day, about 3–6 p.m. Its vadi is Ma and samvadi Sa, and the late-afternoon mood suits its slow, inward development.

Question 34Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which sequence correctly gives the aroha of Raga Bhairav?

  1. Sa Re Ga Ma Pa Dha(k) Ni Sa
  2. Sa Re(k) Ga Ma Pa Dha(k) Ni Sa Correct answer.
  3. Sa Ga Ma Pa Dha(k) Ni Sa
  4. Sa Re(k) Ga Ma Pa Dha(k) Ni(k) Sa

Explanation

Bhairav uses all seven notes with komal Re and komal Dha in both ascent and descent. Its aroha is Sa Re(k) Ga Ma Pa Dha(k) Ni Sa, and the komal Dha is strong as the vadi.

Question 35Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In Raga Darbari Kanada, which swara is vadi?

  1. Ni(k)
  2. Re Correct answer.
  3. Ga(k)
  4. Pa

Explanation

Darbari Kanada’s vadi is Re and its samvadi is Pa. The raga treats Re with great care and often expands it in the lower register, which is central to its grave character.

Question 36Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which sequence correctly gives the avaroha of Raga Bhimpalasi?

  1. Sa Ni Dha Pa Ma Ga Re Sa
  2. Sa Ni(k) Dha(k) Pa Ma Ga(k) Re(k) Sa
  3. Sa Ni(k) Dha Pa Ma Ga(k) Re Sa Correct answer.
  4. Sa Ni(k) Dha Pa Ma Ga(k) Re(k) Sa

Explanation

Bhimpalasi uses komal Ga and komal Ni, while Re and Dha are shuddha. Its avaroha is Sa Ni(k) Dha Pa Ma Ga(k) Re Sa. Re and Dha are usually omitted in the aroha, which helps identify the raga.

Question 37Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which phrase is the pakad of Raga Malkauns?

  1. Ga Ma Dha(k) Ni(k) Dha(k) Ma Ga Correct answer.
  2. Ga Ma Pa Dha(k) Ni Dha(k) Pa
  3. Ni(k) Sa Ga(k) Ma Pa Ni(k) Sa
  4. Re Sa Ga Ma Pa Dha(k) Ni Dha(k) Pa

Explanation

Malkauns is pentatonic: Sa Ga(k) Ma Dha(k) Ni(k) Sa, with no Re or Pa. Its pakad turns around Ga–Ma–Dha(k)–Ni(k)–Dha(k)–Ma–Ga. That phrase avoids Re and Pa and exposes the raga’s komal colour.

Question 38Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Which phrase is the pakad of Raga Bhairav?

  1. Ni(k) Sa Ga(k) Ma Pa Ni(k) Sa
  2. Sa Ga Ma Pa Dha Ni Sa
  3. Ga Ma Dha(k) Ni(k) Dha(k) Ma Ga
  4. Ga Ma Pa Dha(k) Ni Dha(k) Pa Correct answer.

Explanation

Bhairav’s pakad highlights komal Re and komal Dha, often with andolan on these notes. A common pakad phrase is Ga Ma Pa Dha(k) Ni Dha(k) Pa, then Ma Ga Re(k) Sa. It avoids the pentatonic shape of Malkauns and the ascending Khamaj line.

Question 39Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

Raga Khamaj is traditionally assigned to which prahar of the night?

  1. First prahar
  2. Second prahar Correct answer.
  3. Fourth prahar
  4. Third prahar

Explanation

Khamaj is conventionally placed in the second prahar of the night, roughly 9 p.m. to midnight. Its vadi is Ga and samvadi Ni, and the raga is also common in light-classical forms. The assigned prahar is a guide to its evening/night mood.

Question 40Prescribed ragas: aroha, avaroha, pakad, vadi-samvadi and time of rendition

In Raga Khamaj, which pair correctly identifies the vadi and samvadi swaras?

  1. Vadi Ni, samvadi Ga
  2. Vadi Pa, samvadi Sa
  3. Vadi Ga, samvadi Ni Correct answer.
  4. Vadi Ma, samvadi Sa

Explanation

Raga Khamaj is anchored on Gandhar as its vadi, with Nishad as the samvadi; the two lie a fifth apart and jointly shape the raga's characteristic phrasing. Khamaj is shadava in aroha (Sa Ga Ma Pa Ni Sa) and sampurna in avaroha, so Ni is present ascending and descending and can carry samvadi weight. Pa and Ma are prominent in many phrases but are not the prescribed vadi-samvadi pair for this raga.

Question 41Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

How is Teentaal structured in terms of matra and vibhag?

  1. 16 matras in two vibhags of 8
  2. 14 matras in vibhags of 3, 4, 3 and 4
  3. 16 matras in four vibhags of 4 Correct answer.
  4. 12 matras in six vibhags of 2

Explanation

Teentaal is a 16-matra cycle split into four equal vibhags of 4 matras, so the divisions begin on matras 1, 5, 9 and 13. Tali is shown on 1, 5 and 13, while matra 9 carries khali, which is why the cycle is felt as four equal bars. Any option giving a different total or a different subdivision misdescribes the tala.

Question 42Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

What is sam in an avartan of a Hindustani tala?

  1. The final matra of the cycle, on which the theka closes
  2. The matra on which khali is always shown
  3. The matra where the tabla player changes laya
  4. The first matra of the cycle, marked by a clap Correct answer.

Explanation

Sam is the first matra of the cycle; vibhags, tali and khali are all counted from it, and melodic phrases are designed to resolve there. It is normally marked with a clap of the hand and signals the start of each new avartan. Because it is the opening matra, every other division of the tala is measured from sam.

Question 43Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

How does a student show khali while counting a tala in riyaz?

  1. By reciting the theka aloud without making any hand movement
  2. By a wave of the hand for the empty vibhag Correct answer.
  3. By a double clap sounded on the bayan
  4. By a sharp clap of the right palm

Explanation

Khali literally means empty and marks a vibhag that is counted but not accented, so it is shown with a light wave of the hand instead of a clap. Tali, its opposite, is shown with a clap. This contrast between clap and wave tells the listener which vibhags carry accented bols and which are left open.

Question 44Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

Which statement correctly describes the vibhags and khali of Jhaptal?

  1. Vibhags of 3+2+3+2, with khali on matra 9
  2. Vibhags of 2+3+2+3, with khali on matra 8
  3. Vibhags of 2+3+2+3, with khali on matra 6 Correct answer.
  4. Vibhags of 2+3+2+3, with khali on matra 3

Explanation

Jhaptal has 10 matras arranged as 2+3+2+3, so its vibhags begin on matras 1, 3, 6 and 9. Tali falls on matras 1, 3 and 8, while the third vibhag, opening on matra 6, is khali. This unequal division gives Jhaptal its characteristic gait.

Question 45Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

Ektaal has 12 matras. On which matras do its talis fall?

  1. 1, 4, 7 and 10
  2. 1, 5 and 9
  3. 1, 5, 9 and 11 Correct answer.
  4. 1, 3, 5 and 7

Explanation

Ektaal is counted in six vibhags of 2 matras each, and its four talis fall on matras 1, 5, 9 and 11. Khali is shown on matras 3 and 7, so the unaccented divisions sit early in the cycle instead of at the halfway point. A performer must therefore keep four claps and two waves in a fixed order.

Question 46Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

A vibhag that contains five matras belongs to which jati?

  1. Khanda Correct answer.
  2. Mishra
  3. Tisra
  4. Chatushra

Explanation

Jati in tala classifies a vibhag by the number of matras it holds: tisra is 3, chatushra is 4, khanda is 5, mishra is 7 and sankirna is 9. A vibhag of five matras is therefore khanda jati. Talas that mix vibhags of different counts are described as being of mixed jati.

Question 47Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

In tala terminology, what does one avartan mean?

  1. The first clap sounded at sam
  2. One full cycle of the tala, sam to sam Correct answer.
  3. One single matra counted in drut laya
  4. The group of bols played only on the bayan

Explanation

An avartan is one complete round of the tala: it begins at sam, passes through every vibhag with its tali and khali, and closes on the matra just before sam returns. The theka and composed gat are both measured in avartans. A performer's return to sam marks the end of one round and the start of the next.

Question 48Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

A tala of 8 matras is counted with tali on matra 1 and khali on matra 5. Which tala is it?

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

Explanation

Keherwa has 8 matras in two equal vibhags of 4, with tali on matra 1 and khali on matra 5, the start of the second vibhag. The other talas named have different totals: Dadra has 6 matras, Jhaptal 10 and Roopak 7, so none of them can show a wave on matra 5 of an eight-matra cycle.

Question 49Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

In Roopak the sam itself is khali. What does the performer do on matra 1, and where does the first tali fall?

  1. Wave on matra 1; the first tali falls on matra 4 Correct answer.
  2. Clap on matra 1; the first tali falls on matra 6
  3. Clap on matra 1; the first tali falls on matra 5
  4. Wave on matra 1; the first tali falls on matra 3

Explanation

Roopak has 7 matras in vibhags of 3+2+2, so its vibhags begin on matras 1, 4 and 6. The opening vibhag is khali, which means the sam is shown with a wave, and the first tali arrives on matra 4, followed by a second tali on matra 6. This reversed marking makes Roopak the standard example of a tala whose sam is not clapped.

Question 50Taala: structure, matra, vibhag, tali-khali and prescribed rhythmic cycles

A student counting Teentaal claps loudly on matra 9. What is wrong with this?

  1. Matra 9 is khali and must be marked with a wave, not a clap Correct answer.
  2. Matra 9 is the sam of the second avartan and should be shown with a wave
  3. Matra 9 opens the second vibhag and carries neither tali nor khali
  4. Matra 9 is the third tali and should be marked with two claps

Explanation

Teentaal's vibhags begin on matras 1, 5, 9 and 13; talis fall on 1, 5 and 13, while matra 9, which opens the third vibhag, is khali. Khali is shown with a wave of the hand, so clapping there wrongly accents an unaccented division and blurs the listener's sense of where sam lies.