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PSEB SS Music Tabla study materials
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PSEB SS Music Tabla practice questions

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Question 1History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

According to the traditional account, which pair of drums did Amir Khusrau devise by splitting the mridang, giving rise to the instrument now called tabla?

  1. Tabla and dagga Correct answer.
  2. Pakhawaj and dholki
  3. Mridang and khol
  4. Dholak and nagara

Explanation

Tradition credits Amir Khusrau of the Delhi court with dividing the pakhawaj into two parts, the treble tabla and the bass dagga. This account is legend rather than documented fact, but it is the standard origin story taught in tabla history.

Question 2History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

The word 'tabla' is most commonly traced to an Arabic term meaning what?

  1. A temple cymbal
  2. A small water pot
  3. A skin-covered drum Correct answer.
  4. A pair of sticks

Explanation

Most etymologies derive 'tabla' from the Arabic 'tabl', meaning a drum, which entered Indian usage through Persian-influenced court language. The name therefore refers to the drum itself rather than to any playing implement or ritual object.

Question 3History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which gharana is regarded as the oldest of the tabla traditions and is centred on the imperial court of Delhi?

  1. Banaras
  2. Punjab
  3. Ajrada
  4. Delhi Correct answer.

Explanation

The Delhi gharana is conventionally described as the oldest tabla school, rooted in the Mughal capital and its court musicians. Its lineage is traced through Siddhar Khan Dhadi, and later schools are often described as branching from or reacting to it.

Question 4History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

The Banaras gharana is especially identified with which broad stylistic grouping of tabla traditions?

  1. Pashchim baj
  2. Poorab and pashchim combined
  3. Dakhini baj
  4. Purab baj Correct answer.

Explanation

Banaras belongs to the purab (eastern) baj, the style cluster of eastern India that includes Banaras and Farrukhabad. The pashchim baj, by contrast, is associated with western schools such as Delhi and Ajrada.

Question 5History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which gharana is famous for the compositional form called 'gajara' and for a style built on forceful, open-handed strokes?

  1. Farrukhabad
  2. Punjab Correct answer.
  3. Lucknow
  4. Delhi

Explanation

The Punjab gharana, associated with lineages such as that of Mian Qadir Bakhsh, is known for gajara compositions and a robust, open style of playing. Its idiom emphasises power and clear, ringing strokes.

Question 6History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

In tabla terminology, what does 'gharana' refer to?

  1. A single rhythmic cycle
  2. A type of drum skin
  3. A tuning paste
  4. A lineage or school of playing transmitted through a teacher-disciple chain Correct answer.

Explanation

A gharana is a school or lineage of musicianship, defined by transmission from ustad to shagird and by a recognisable stylistic identity. Each tabla gharana preserves its own repertoire, fingering habits, and aesthetic priorities.

Question 7History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

The black tuning paste applied to the centre of a tabla skin is known as which of the following?

  1. Syahi Correct answer.
  2. Chanti
  3. Puri
  4. Maidan

Explanation

The syahi (also called gab or shiah) is the dark paste of iron oxide and other ingredients applied at the centre of the drumhead. It lowers the pitch and adds resonance to the strokes.

Question 8History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which pair of syllables is used to represent the two basic resonant strokes on the tabla and dagga respectively?

  1. Tin and Ta
  2. Na and Ge Correct answer.
  3. Kat and Ghe
  4. Dha and Dhin

Explanation

Na is the open resonant stroke on the tabla and Ge (or Ghe) is the corresponding open stroke on the bass dagga. These are among the foundational bols from which larger compositions are built.

Question 9History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

The Lucknow gharana is historically associated with which patron court and with the lineage of Modu and Bakshu Khan?

  1. The court of Gwalior
  2. The court of Baroda
  3. The court of the Nawabs of Lucknow Correct answer.
  4. The court of Jaipur

Explanation

The Lucknow gharana developed under the patronage of the Nawabs of Awadh, and its lineage is traced through Modu Khan and Bakshu Khan. The school became known for a refined, ornamented style.

Question 10History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

The Ajrada gharana traces its origin to which lineage of musicians?

  1. Siddhar Khan Dhadi Correct answer.
  2. Mian Qadir Bakhsh
  3. Modu and Bakshu Khan
  4. Ram Sahai

Explanation

The Ajrada gharana is traced to Siddhar Khan Dhadi, whose descendants carried the tradition to Ajrada. It is thus often described as sharing ancestry with the Delhi school while developing its own idiom.

Question 11History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which gharana is particularly renowned for the composition type called 'na dhruv' and for a dense, intricate approach to qaida?

  1. Punjab
  2. Farrukhabad Correct answer.
  3. Banaras
  4. Delhi

Explanation

The Farrukhabad gharana is celebrated for its elaborate repertoire, including na dhruv compositions, and for qaidas that develop complex patterns. Its style is often described as intellectually dense and highly ornamented.

Question 12History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A candidate hears a tabla solo in which the artiste opens with a peshkar, then presents a qaida with several palte, and closes with a gat and tihai. This structure is most characteristic of which school's solo format?

  1. Banaras gharana
  2. Delhi gharana Correct answer.
  3. Punjab gharana
  4. Farrukhabad gharana

Explanation

The peshkar as an opening item, followed by qaida with palte and closing with gat and tihai, is the classic Delhi solo format. The peshkar is a hallmark of the Delhi school and sets the gradual unfolding of a solo.

Question 13History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

In tabla repertoire, what is a 'palta'?

  1. A closing rhythmic cadence
  2. A variation of a theme such as a qaida Correct answer.
  3. A type of drum skin
  4. A tuning method

Explanation

A palta is a variation that develops a theme, most often applied to a qaida. The plural 'palte' describes the successive variations a performer builds on the basic pattern.

Question 14History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A performer repeats a phrase three times so that it concludes on the first beat of the cycle. This compositional device is called what?

  1. Kaida
  2. Uthan
  3. Chakradar
  4. Tihai Correct answer.

Explanation

A tihai is a phrase repeated three times, usually arranged to land on sam. It is a standard closing device in tabla solos and accompanies many compositional forms.

Question 15History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which of the following best describes the term 'baj' in tabla discourse?

  1. The physical drumhead
  2. The tuning pitch of the dagga
  3. The style or idiom of playing associated with a region or school Correct answer.
  4. The rhythmic cycle of a composition

Explanation

Baj refers to a style or idiom of playing, such as purab baj or pashchim baj. It describes the aesthetic and technical character of a school rather than a rhythmic cycle or an instrument part.

Question 16History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A tabla player trained in the Banaras gharana is asked to demonstrate a composition that emphasises purab bols and a resonant, open sound. Which school's idiom is being described?

  1. Punjab
  2. Banaras Correct answer.
  3. Ajrada
  4. Delhi

Explanation

Purab bols and a resonant, open sound characterise the Banaras gharana within the purab baj. The school is known for its rich repertoire and sonorous presentation.

Question 17History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which tabla gharana is most closely associated with the Sikh courts and with the lineage of Mian Qadir Bakhsh?

  1. Ajrada
  2. Farrukhabad
  3. Punjab Correct answer.
  4. Lucknow

Explanation

The Punjab gharana developed in the Punjab region and is linked to Mian Qadir Bakhsh and his descendants. It is known for a robust style and forms such as gajara.

Question 18History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which of these statements about the relationship between the Delhi and Ajrada gharanas is most accurate?

  1. Ajrada was founded by Ram Sahai of Banaras
  2. The two schools share no historical connection
  3. Delhi was founded by the Nawabs of Awadh
  4. Ajrada descends from the Delhi lineage through Siddhar Khan Dhadi Correct answer.

Explanation

Ajrada traces its ancestry to Siddhar Khan Dhadi, the figure also associated with the Delhi gharana. The two schools therefore share a historical root while diverging in style.

Question 19History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A student notices that a Lucknow-style solo is more ornamented and delicate than a Punjab-style solo. Which explanation best accounts for this difference?

  1. Lucknow players use a different drum
  2. The Lucknow school is older than all others
  3. Punjab players cannot play ornamented phrases
  4. The two schools developed under different courts and aesthetic priorities Correct answer.

Explanation

Gharanas developed in distinct courtly and regional settings, which shaped their aesthetic priorities. Lucknow's refined, ornamented idiom reflects Awadh court taste, while Punjab's more robust style reflects its own context.

Question 20History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which gharana is credited with the composition form 'peshkar' as a hallmark opening item in solo performance?

  1. Farrukhabad
  2. Delhi Correct answer.
  3. Banaras
  4. Punjab

Explanation

The peshkar is closely associated with the Delhi gharana and is used to open a solo, gradually establishing the rhythmic framework. It is a signature element of the Delhi repertoire.

Question 21History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A tabla solo includes a chakradar tihai. What distinguishes a chakradar from an ordinary tihai?

  1. It is a tihai of tihais, producing a more extended cadential structure Correct answer.
  2. It is played only on the dagga
  3. It is a form of qaida
  4. It is a tuning exercise

Explanation

A chakradar is built by treating a tihai itself as the unit and repeating it three times, creating a longer and more elaborate cadence. It is a structural extension of the tihai principle rather than a separate category of qaida.

Question 22History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which statement best explains why the gharana system preserved distinct tabla styles despite shared basic bols?

  1. The bols themselves differ completely between schools
  2. Each lineage transmitted its own repertoire, fingering habits, and aesthetic priorities orally Correct answer.
  3. The drum construction differs fundamentally between schools
  4. Only one gharana was legally permitted to perform

Explanation

Gharanas preserved distinct styles because transmission was oral and lineage-based, carrying repertoire, fingering conventions, and aesthetic values. Shared bols were interpreted and elaborated differently within each school.

Question 23History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A researcher compares a Delhi peshkar with a Farrukhabad na dhruv. Which distinction best captures the difference in their compositional roles?

  1. Both are closing cadences
  2. Both are tuning procedures
  3. The peshkar opens a solo and establishes the framework, while na dhruv is a developed compositional type in its own right Correct answer.
  4. The peshkar is a tihai and na dhruv is a palta

Explanation

The peshkar functions as an opening item that gradually establishes the rhythmic and melodic framework of a solo. Na dhruv, by contrast, is a developed compositional type associated with the Farrukhabad repertoire.

Question 24History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which pairing of gharana and characteristic feature is correctly matched?

  1. Punjab - na dhruv and dense qaida
  2. Lucknow - peshkar as hallmark opening
  3. Banaras - purab baj and rich purab compositions Correct answer.
  4. Delhi - gajara and open-handed power

Explanation

Banaras belongs to the purab baj and is known for its rich purab compositions. The other pairings attach features to schools that are not primarily associated with them.

Question 25History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which statement about the historical documentation of tabla's origins is most defensible?

  1. The tabla replaced the pakhawaj entirely by the sixteenth century
  2. The tabla originated in South India
  3. The Amir Khusrau split account is traditional legend rather than documented fact Correct answer.
  4. The tabla was invented in the twentieth century

Explanation

The story of Amir Khusrau splitting the pakhawaj is a traditional account without documentary confirmation. Scholars treat it as legend while acknowledging the pakhawaj as an ancestor of the tabla.

Question 26History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which tabla gharana is traditionally traced to Amir Khusrau's invention of the sitar-based tale and is best known for the 'baj' of the Delhi court, later carried forward by Sidhar Khan Dhadi?

  1. Ajrada gharana
  2. Delhi gharana Correct answer.
  3. Banaras gharana
  4. Punjab gharana

Explanation

The Delhi gharana is conventionally traced to Amir Khusrau and to Sidhar Khan Dhadi, whose descendants shaped the Delhi baj. Its identity is bound to the Mughal court tradition and to a refined, controlled stroke vocabulary. The other gharanas have separate lineages and stylistic signatures.

Question 27History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

The Farrukhabad gharana is especially celebrated for which compositional form in tabla solo?

  1. Peshkar
  2. Chakradar gat
  3. Rela
  4. Na dhruv Correct answer.

Explanation

Farrukhabad is particularly renowned for the na dhruv, a fixed composition form that its exponents developed and preserved. The gharana's identity is closely tied to this repertoire item and to a rich, vocal-derived approach. Peshkar, chakradar gat and rela belong to broader shared tabla vocabulary.

Question 28History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A tabla student notices that a Banaras-style composition uses bols such as 'dhet' and 'tirakita' with a strong, open resonance. Which explanation best accounts for this?

  1. The Banaras baj uses only syllables borrowed from Carnatic mridangam.
  2. The Banaras baj avoids all resonant strokes in favour of closed, muted sounds.
  3. The Banaras baj is identical in stroke quality to the Delhi baj.
  4. The Banaras baj favours purab bols and a resonant, open-handed stroke quality. Correct answer.

Explanation

The Banaras gharana is associated with the purab baj, which emphasises resonant, open strokes and bols such as dhet and tirakita. This gives the style its characteristic full sound and rhythmic drive. Styles such as Delhi favour a more controlled, closed stroke quality, so the two are not identical.

Question 29History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

Which statement most accurately describes the relationship between the Delhi and Ajrada gharanas?

  1. Both share the Delhi lineage of Sidhar Khan Dhadi, but Ajrada developed a denser, more intricate style. Correct answer.
  2. Delhi is a later offshoot of Ajrada and adopted its na dhruv repertoire.
  3. The two gharanas are unrelated and arose in different centuries.
  4. Ajrada is a branch of the Banaras gharana with no connection to Delhi.

Explanation

Ajrada traces its origin to the same Delhi lineage associated with Sidhar Khan Dhadi, through Modu and Bakshu Khan. Over time it developed its own denser, more intricate approach to composition and stroke work. The two are therefore related by lineage but distinct in style.

Question 30History and evolution of Tabla and its gharanas (Delhi, Ajrada, Lucknow, Farrukhabad, Punjab, Banaras)

A researcher argues that the gharana system preserved distinct tabla styles even though all gharanas use a shared stock of bols. Which factor best supports this argument?

  1. The bols themselves differ completely between gharanas, with no shared vocabulary.
  2. Each gharana transmitted its own repertoire, stroke treatment and compositional priorities through a closed lineage. Correct answer.
  3. Gharanas were created by government regulation in the twentieth century.
  4. Written notation replaced oral transmission in all gharanas before 1900.

Explanation

Gharanas preserved distinct styles because each lineage transmitted its own repertoire, stroke treatment and compositional priorities through oral instruction. The bols are largely shared, but their execution and organisation differ. This explains how stylistic identity survived despite a common vocabulary.

Question 31Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

In tabla terminology, what does the word 'bol' refer to?

  1. A spoken syllable that represents a drum stroke Correct answer.
  2. The tuning paste applied to the syahi
  3. The tempo at which a composition is played
  4. The number of divisions in a tala cycle

Explanation

Bol literally means a spoken or recited syllable, and each bol names a specific stroke or combination of strokes on the tabla or dagga. Reciting bols aloud is a core part of tabla training because it links vocal articulation to physical technique.

Question 32Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

Which term describes the four stroke-types into which tabla bols are traditionally classified?

  1. Varna Correct answer.
  2. Theka
  3. Vibhag
  4. Avartan

Explanation

Varna refers to the classification of bols into four categories based on the manner of striking: parna, vam, urdha and kshipta. This scheme organises the repertoire of strokes systematically. Vibhag, theka and avartan belong to tala structure, not stroke classification.

Question 33Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

The word 'laya' in tabla performance most directly refers to what?

  1. The pitch of the bayan
  2. The stress given to the sam
  3. The tempo or speed of the rhythmic flow Correct answer.
  4. The order of bols in a composition

Explanation

Laya denotes the tempo or pace of rhythmic movement and is broadly discussed as vilambit, madhya and drut. It is a measure of speed, not of pitch, accent or bol order.

Question 34Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

What is a 'matra' in tala?

  1. A cycle of sixteen beats
  2. A cluster of three bols
  3. A single counted beat of the cycle Correct answer.
  4. A section marked by khali

Explanation

Matra means one beat, the basic countable unit of a tala cycle. A tala is defined by how many matras it contains, so matra is the fundamental unit of measurement.

Question 35Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

In a tala cycle, what is a 'vibhag'?

  1. A type of composition played in drut laya
  2. A group of matras forming a section of the cycle Correct answer.
  3. The final matra of an avartan
  4. A single bol recited on the bayan

Explanation

A vibhag is a division of the cycle made up of a group of matras, and the pattern of vibhags distinguishes one tala from another of the same length. For example, tintal divides sixteen matras as four groups of four.

Question 36Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

What does 'tali' indicate when a theka is recited?

  1. The tuning of the dagga
  2. An accented division marked by a clap Correct answer.
  3. The closing matra of the theka
  4. An unaccented division shown by a wave of the hand

Explanation

Tali marks an accented vibhag and is conventionally shown by a clap when reciting with the hand. Khali, by contrast, marks an unaccented division shown by a wave. The contrast between tali and khali gives the theka its shape.

Question 37Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

How is 'khali' shown when a performer recites a theka with hand gestures?

  1. By a clap
  2. By striking the bayan
  3. By a wave of the hand Correct answer.
  4. By touching the syahi

Explanation

Khali denotes an unaccented vibhag and is shown by waving the hand rather than clapping. It is often rendered on the tabla with a lighter, open stroke such as the sound of the kinar.

Question 38Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

What is 'sam' in a tala cycle?

  1. The first matra of the avartan, which carries the principal accent Correct answer.
  2. Any matra marked by khali
  3. The midpoint of the vibhag
  4. The lightest matra of the cycle

Explanation

Sam is the first beat of the cycle and functions as its point of resolution and principal accent. Performers and listeners orient themselves by sam, and compositions are designed to arrive on it.

Question 39Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

What does 'avartan' mean in tabla and tala terminology?

  1. A composition in drut laya
  2. One complete cycle of a tala Correct answer.
  3. The tuning of the tabla pair
  4. A single bol of the theka

Explanation

Avartan is one full round of the tala, from sam back to sam. Counting avartans is how performers track longer structures such as compositions spanning several cycles.

Question 40Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

The 'theka' of a tala is best described as what?

  1. A virtuoso composition played only in drut laya
  2. The set of tuning pitches for the tabla
  3. A solo improvisation in a single raga
  4. The basic bol pattern that identifies the tala and marks its vibhags Correct answer.

Explanation

Theka is the standard, relatively simple bol pattern that identifies a tala and marks its divisions, including sam, tali and khali. It is used as the rhythmic anchor for accompaniment and for recitation.

Question 41Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

A tala has sixteen matras divided into four equal vibhags. Which tala is this?

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

Explanation

Tintal has sixteen matras arranged as four vibhags of four matras each, with tali on 1, 5 and 13 and khali on 9. Jhaptal has ten matras, Rupak has seven and Keherwa has eight.

Question 42Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

In tintal, which matra carries khali?

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

Explanation

Tintal's four vibhags begin on matras 1, 5, 9 and 13, with tali on 1, 5 and 13 and khali on 9. The khali vibhag is rendered with lighter, open strokes.

Question 43Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

A performer recites the theka of a tala and claps on matras 1, 3 and 7 while waving on matra 5. How many matras does this tala have?

  1. Nine
  2. Six
  3. Eight
  4. Seven Correct answer.

Explanation

The highest gesture point named is matra 7, and in a seven-matra cycle the last division begins there, so the cycle completes at 7. This matches Rupak, which has seven matras with khali on 5 and tali on 1 and 7.

Question 44Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

Which statement correctly distinguishes tali from khali in a theka?

  1. Tali is played on the bayan and khali on the dayan
  2. Tali marks an accented vibhag and khali marks an unaccented one Correct answer.
  3. Tali occurs only at sam and khali only at the end
  4. Tali is used in vilambit laya and khali in drut laya

Explanation

Tali and khali are accent categories for vibhags: tali is the clapped, accented division and khali the waved, unaccented one. The distinction is structural and applies across layas, not a division of labour between the two drums.

Question 45Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

What is meant by 'barabar ki laya'?

  1. Tempo that doubles suddenly
  2. Tempo with an accent on every third matra
  3. Tempo that gradually slows
  4. Even, steady tempo in which each matra has equal duration Correct answer.

Explanation

Barabar ki laya means an even tempo where all matras are of equal length, as opposed to layas that are doubled or gradually altered. It is the baseline against which variations are measured.

Question 46Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

When a performer moves from one matra per beat to two bols per matra while the underlying cycle stays the same, this is best described as what?

  1. Changing the tala
  2. Replacing the theka with a new one
  3. Doubling the laya within the same tala Correct answer.
  4. Changing from tali to khali

Explanation

Keeping the cycle intact while subdividing each matra into more bols is a laya change, here a doubling of speed within the same tala. The tala and its vibhag structure remain unchanged.

Question 47Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

Which bol is characteristically produced on the bayan (dagga) with a pressure-and-release glissando?

  1. Tin
  2. Na
  3. Ga Correct answer.
  4. Dha

Explanation

Ga is the open bayan stroke, and by pressing the heel of the hand into the syahi while striking, the pitch can be bent. Na and Tin are dayan strokes, and Dha combines both drums.

Question 48Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

Which of these bols is a compound stroke requiring both hands together?

  1. Ta
  2. Na
  3. Dha Correct answer.
  4. Tin

Explanation

Dha is formed by combining a bayan stroke with a dayan stroke played simultaneously, so it requires both hands. Na, Tin and Ta are single-hand dayan strokes.

Question 49Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

In a tala with khali on matra 5, how does the theka usually differ at that point?

  1. The vibhag is lengthened by one matra
  2. The dayan is muted completely
  3. The bayan is omitted and the stroke is lighter and open Correct answer.
  4. The tempo doubles

Explanation

At khali the resonant bayan sound is normally left out and the stroke becomes lighter and open, often played near the kinar. This audible change signals the unaccented division to listeners.

Question 50Technical terminology: bols, varnas, laya, matra, vibhag, tali, khali, sam, avartan, theka

A student counts a cycle of fourteen matras divided into vibhags of 3, 4 and 7. Which tala is being described?

  1. Dhamar
  2. Jhumra
  3. Ada Chautal Correct answer.
  4. Deepchandi

Explanation

Ada Chautal is a fourteen-matra tala with an asymmetric 3-4-7 division, which makes it a useful study in uneven vibhags. Dhamar and Jhumra have fourteen matras but a 5-2-3-4 arrangement, and Deepchandi has fourteen in 3-4-3-4.