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PSEB SS Music Vocal practice questions

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Question 1Hindustani vocal practical performance (raga presentation, taal, compositions)

In Hindustani vocal music, which term denotes the opening section of a raga presentation sung in free rhythm without tabla accompaniment?

  1. Bandish
  2. Tappa
  3. Tarana
  4. Alap Correct answer.

Explanation

Alap is the unmetered, improvised unfolding of a raga that introduces its notes and mood before any rhythmic composition begins. It is performed without tabla and gradually expands the raga's phrases. Bandish, tarana and tappa are all metered compositions and therefore cannot serve as the free-rhythm opening.

Question 2Hindustani vocal practical performance (raga presentation, taal, compositions)

A vilambit khayal is conventionally set in which type of tempo?

  1. Free, unmeasured tempo
  2. Medium tempo
  3. Slow tempo Correct answer.
  4. Very fast tempo

Explanation

Vilambit literally means slow, and a vilambit khayal unfolds at a broad tempo, usually in a slow sixteen-beat cycle such as Tilwada or Ektaal. The slow laya gives space for elaborate badhat and behlawas. Fast tempo belongs to chhota khayal, and free unmeasured rendering describes alap rather than a khayal composition.

Question 3Hindustani vocal practical performance (raga presentation, taal, compositions)

How many matras are there in the taal Jhaptal?

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

Explanation

Jhaptal is a ten-matra taal divided into four vibhags of 2+3+2+3. Its claps fall on matras 1, 3 and 8, with a khali on matra 6. Seven matras belong to Rupak, twelve to Ektaal, and sixteen to Teentaal.

Question 4Hindustani vocal practical performance (raga presentation, taal, compositions)

Which pair of swaras is considered vivadi in the raga Bhairav?

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

Explanation

Bhairav uses komal Re and komal Dha with shuddha Ga, Ma, Pa and Ni, and its vivadi swaras are Ma and Ni, which are used sparingly and in specific phrases. Re and Dha are the raga's defining komal notes, not its vivadi ones. Ga and Pa are ordinary shuddha notes in the raga.

Question 5Hindustani vocal practical performance (raga presentation, taal, compositions)

In Teentaal, on which matras does the khali (empty) section fall?

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

Explanation

Teentaal has sixteen matras in four vibhags of four, with tali on 1, 5 and 13 and khali on matra 9. The khali is shown by a wave of the hand rather than a clap. Matras 1, 5 and 13 are all tali positions and therefore cannot be the khali.

Question 6Hindustani vocal practical performance (raga presentation, taal, compositions)

Which swara serves as the vadi in raga Yaman?

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

Explanation

Yaman is a sampoorna-sampoorna evening raga built on tivra Ma, and its vadi is Gandhar while its samvadi is Nishad. Phrases such as Ni Re Ga Re Sa and Pa Ma Ga Re Sa highlight Ga's prominence. Pa and Re are important but secondary, and Dha functions as an anuvadi.

Question 7Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist sings a composition whose sthayi and antara lyrics are 'Jhan jhan jhan payal baaje'. In which language is this bandish text most likely written?

  1. Braj Correct answer.
  2. Persian
  3. Tamil
  4. Sanskrit

Explanation

Traditional khayal and thumri bandish texts are commonly composed in Braj, Awadhi or Hindi dialects, and a line describing the sound of anklets belongs to this Braj lyric tradition. Sanskrit bandish texts are rare in khayal, while Tamil and Persian belong to entirely different linguistic traditions.

Question 8Hindustani vocal practical performance (raga presentation, taal, compositions)

Which of these is a characteristic feature of a tarana composition?

  1. Only pakhawaj accompaniment
  2. Dhrupad-style nom tom alap only
  3. A fixed devotional text in Braj
  4. Bol-tan syllables such as nom tom Correct answer.

Explanation

A tarana uses meaningless syllables such as nom, tom, ta, na, ri, and dir-dir to create a fast, rhythmic melodic structure, often in ragas suited to lively expression. It is not built on a devotional Braj text, and it is normally accompanied by tabla rather than pakhawaj alone.

Question 9Hindustani vocal practical performance (raga presentation, taal, compositions)

In the notation of a bandish, the symbol 'X' placed above matra 1 conventionally indicates which structural point?

  1. Khali
  2. Tali of the third vibhag
  3. Sam Correct answer.
  4. Avartan end

Explanation

In the conventional notation of Hindustani taal, X marks the sam, the first matra of the cycle where the composition's key phrase resolves. Khali is marked with a 0, and additional talis are numbered 2, 3 and so on. The avartan is the whole cycle rather than a single marked matra.

Question 10Hindustani vocal practical performance (raga presentation, taal, compositions)

A student wants to show the theka of Keherwa on the tabla. Which matra pattern correctly represents its bols?

  1. Dha dha din ta
  2. Dhin na dhin na
  3. Dha ge na ti na ka dhi na Correct answer.
  4. Dha dhin dhin dha

Explanation

Keherwa is an eight-matra taal with the theka 'dha ge na ti, na ka dhi na', divided into two vibhags of four. 'Dha dhin dhin dha' belongs to the sixteen-matra Teentaal, and 'dha dha din ta' is part of the Jhaptal theka. 'Dhin na dhin na' is a Jhaptal-style phrase, not Keherwa.

Question 11Hindustani vocal practical performance (raga presentation, taal, compositions)

Which raga is traditionally associated with the late-night prahar and uses both komal Ga and komal Ni?

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

Explanation

Bageshri is a late-night raga of the Kafi thaat that uses komal Ga and komal Ni, with a characteristic phrase such as Ma Dha Ni Sa Re Ga Ma Pa. Bhairav uses komal Re and komal Dha, Yaman uses tivra Ma, and Bhoopali uses only five shuddha notes.

Question 12Hindustani vocal practical performance (raga presentation, taal, compositions)

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

  1. A fast taan sung on the words of the bandish Correct answer.
  2. A tabla solo passage
  3. A slow alap phrase without words
  4. A closing prayer in raga Bhairavi

Explanation

Bol-tan weaves the words of the bandish into rapid melodic runs, combining textual meaning with taan agility. It differs from sargam taan, which uses swara names, and from the unmetered alap. A tabla solo and a closing prayer are separate elements of the performance.

Question 13Hindustani vocal practical performance (raga presentation, taal, compositions)

A performer sings the phrase 'Pa Ma Ga Re Sa' in Yaman while ascending, which is unusual for the raga. What does this phrase most likely indicate?

  1. A deliberate use of an avaroha-style descent in the aroha Correct answer.
  2. The taal has changed to Rupak
  3. The raga has been changed to Bhairav
  4. The performer is singing in Bhairavi

Explanation

Yaman's aroha normally avoids direct Pa-Ma-Ga-Re-Sa descent, so singing it suggests the performer is using a vakra or avaroha-like phrase within the ascent for expressive effect. Raga identity and taal remain unchanged; only the melodic contour is being treated freely.

Question 14Hindustani vocal practical performance (raga presentation, taal, compositions)

Which statement correctly distinguishes antara from sthayi in a bandish?

  1. Antara explores the upper register while sthayi stays in the lower and middle register Correct answer.
  2. Antara is sung before sthayi in every performance
  3. Antara is always in a faster tempo than sthayi
  4. Sthayi uses only komal swaras while antara uses only tivra swaras

Explanation

The sthayi is the first section of a bandish and centres on the lower and middle register, while the antara moves into the upper register and often touches the raga's upper Sa. Tempo is a separate matter, and swara choice is governed by the raga rather than by the section.

Question 15Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist wants to end a khayal on sam after a taan that spans three matras. In Teentaal, on which matra should the taan begin so that it lands on sam?

  1. Matra 16
  2. Matra 14 Correct answer.
  3. Matra 13
  4. Matra 15

Explanation

Sam in Teentaal falls on matra 1 of the next cycle, so a three-matra taan must start three matras earlier, on matra 14, and run through 14, 15 and 16 before resolving on sam. Starting on 15 or 16 would leave too few matras, and starting on 13 would overshoot sam.

Question 16Hindustani vocal practical performance (raga presentation, taal, compositions)

Which of the following is the correct order of the four vibhags of Jhaptal in terms of matra count?

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

Explanation

Jhaptal's ten matras are grouped as 2+3+2+3, with tali on 1, 3 and 8 and khali on 6. This uneven grouping gives the taal its distinctive lilting character. The other groupings do not total ten in the same arrangement or misplace the khali.

Question 17Hindustani vocal practical performance (raga presentation, taal, compositions)

In raga Bhairav, which phrase best illustrates its characteristic treatment of the komal Re?

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

Explanation

Bhairav's identity rests on a slow, oscillating komal Re and komal Dha, often approached as Ga Ma Pa Dha Pa, Ma Ga Re Sa with a deliberate andolan on Re. A plain ascending scale does not show the raga's characteristic slow oscillation. Phrases that avoid komal Dha or treat Ni as prominent do not convey Bhairav's mood.

Question 18Hindustani vocal practical performance (raga presentation, taal, compositions)

Which swara is the samvadi of raga Bhairav?

  1. Ma
  2. Pa
  3. Dha Correct answer.
  4. Ga

Explanation

Bhairav's vadi is Dha and its samvadi is Re, with the two notes forming the raga's slow oscillating axis. Ga and Pa are anuvadi notes, and Ma is used sparingly, sometimes described as vivadi. The samvadi is therefore not Ga, Pa or Ma.

Question 19Hindustani vocal practical performance (raga presentation, taal, compositions)

Which statement correctly describes the relationship between thaat and raga in the Bhatkhande system?

  1. Each thaat corresponds to exactly one raga
  2. Thaat is a rhythmic cycle used for composition
  3. A thaat is a scale framework from which many ragas may draw their notes Correct answer.
  4. A raga may not share notes with any thaat

Explanation

In Bhatkhande's classification, a thaat is a ten-note scale framework that groups ragas sharing the same set of swaras, and many ragas can belong to a single thaat. A thaat is not a raga itself, nor a taal, and it does not restrict a raga to one form.

Question 20Hindustani vocal practical performance (raga presentation, taal, compositions)

A performer wishes to sing a chhota khayal in Teentaal and wants the composition to begin on sam with the phrase 'Dha dhin dhin dha'. What does this indicate about the composition's starting point?

  1. It begins on matra 9
  2. It begins on matra 1 with a tali Correct answer.
  3. It begins before sam as an anagat
  4. It begins on khali

Explanation

Beginning on matra 1 means the composition starts exactly on sam, which is a tali position in Teentaal. Khali falls on matra 9 and would not be described as starting on sam. An anagat composition would begin before sam rather than on it.

Question 21Hindustani vocal practical performance (raga presentation, taal, compositions)

Which of the following best describes the role of the tanpura in a Hindustani vocal recital?

  1. It provides a continuous drone defining the tonic Sa Correct answer.
  2. It performs taans in unison with the singer
  3. It marks the tali and khali of the taal
  4. It plays the theka for the composition

Explanation

The tanpura sounds a continuous drone on Sa and Pa or Sa and Ma, establishing the tonic pitch against which the singer tunes all swaras. The theka and tali-khali markings belong to the tabla, and the tanpura does not imitate vocal taans.

Question 22Hindustani vocal practical performance (raga presentation, taal, compositions)

In a thumri performance, which taal is most commonly used?

  1. Keherwa or Dadra Correct answer.
  2. Ektaal only
  3. Jhaptal only
  4. Teentaal only

Explanation

Thumri is typically set in the lighter eight-matra Keherwa or six-matra Dadra, which support its flexible, expressive phrasing and bol-bana. Teentaal, Jhaptal and Ektaal are heavier cycles more associated with khayal and dhrupad.

Question 23Hindustani vocal practical performance (raga presentation, taal, compositions)

A student sings a sargam taan using the syllables Sa Re Ga Ma Pa Dha Ni Sa. Which type of taan is this?

  1. Sargam taan Correct answer.
  2. Bol-tan
  3. Tappa-style taan
  4. Alankarik taan on nom tom

Explanation

A taan sung with the actual swara names such as Sa Re Ga Ma is called sargam taan. Bol-tan uses the words of the bandish, while nom-tom syllables belong to tarana-style singing. The phrase shown contains swara names, so it is sargam taan.

Question 24Hindustani vocal practical performance (raga presentation, taal, compositions)

Which of the following correctly pairs a raga with its traditional time of performance?

  1. Yaman with early morning
  2. Bhairav with midnight
  3. Bhoopali with early evening Correct answer.
  4. Bageshri with afternoon

Explanation

Bhoopali, a pentatonic evening raga of the Kalyan family, is traditionally performed in the early evening. Bhairav belongs to the morning, Yaman to the evening, and Bageshri to the late night. The other pairings reverse the conventional samay assigned to each raga.

Question 25Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist performs a composition in Rupak taal and wishes to resolve on sam after a two-matra phrase. Which matra pair immediately precedes sam in Rupak?

  1. Matras 4 and 5
  2. Matras 1 and 2
  3. Matras 6 and 7 Correct answer.
  4. Matras 3 and 4

Explanation

Rupak is a seven-matra taal, so the two matras just before sam in the next cycle are matras 6 and 7. Matras 1 and 2 begin the cycle, and matras 3, 4 and 5 fall in the middle. A two-matra phrase must therefore occupy 6 and 7 to land on sam.

Question 26Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist begins a khayal in raga Yaman by singing 'Ni Re Ga Ma' with Ni and Ga raised. Which type of movement does this opening phrase most clearly illustrate?

  1. Sthayi in the lower octave
  2. Pakad of a sampurna raga
  3. Avaroha with komal swaras
  4. Aroha using tivra Ma and tivra Ni Correct answer.

Explanation

Yaman is a sampurna raga in which all seven swaras appear, with tivra Ma and tivra Ni as the altered degrees. An ascending phrase that uses these raised notes reflects the raga's aroha structure. Komal swaras are not part of Yaman's basic scale.

Question 27Hindustani vocal practical performance (raga presentation, taal, compositions)

In Teentaal, which bol falls on matra 9, the start of the third vibhag?

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

Explanation

Teentaal has sixteen matras divided into four vibhags of four. Its theka is Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha, so matra 9 carries Tin. Matra 1 and matra 5 both carry Dha.

Question 28Hindustani vocal practical performance (raga presentation, taal, compositions)

A student is asked to sing a lakshan geet in a raga. What is the primary purpose of this type of composition?

  1. To describe the raga's swaras, vadi, samvadi and time in song form Correct answer.
  2. To display fast sargam tans in Teentaal
  3. To accompany a Kathak dance sequence
  4. To present a tarana with meaningless syllables

Explanation

A lakshan geet is a didactic composition whose lyrics state the raga's defining features, such as its aroha, avaroha, vadi, samvadi and appropriate time. It is used in teaching to fix the raga's identity in the student's memory. It is not primarily a virtuoso or dance form.

Question 29Hindustani vocal practical performance (raga presentation, taal, compositions)

Which swara is the vadi of raga Bhairav?

  1. Komal Re
  2. Shuddha Pa
  3. Shuddha Ma
  4. Komal Dha Correct answer.

Explanation

Bhairav is a morning raga of Bhairav thaat using komal Re and komal Dha. Its vadi is komal Dha and its samvadi is komal Re, which together give the raga its characteristic slow, grave colour. Shuddha Ma and Pa are present but are not the vadi.

Question 30Hindustani vocal practical performance (raga presentation, taal, compositions)

In a khayal, which section normally carries the text that explores the upper octave?

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

Explanation

A bandish in khayal has two main text sections: the sthayi, which stays in the lower and middle octave, and the antara, which rises into the upper octave. The antara's text is conventionally sung after the sthayi has been established. Mukhda and sanchari are terms from other contexts such as tarana or dance.

Question 31Hindustani vocal practical performance (raga presentation, taal, compositions)

Which pair of swaras is used in raga Malkauns?

  1. Tivra Ma and shuddha Ni
  2. Komal Re and tivra Ma
  3. Komal Ga and komal Dha Correct answer.
  4. Shuddha Re and Shuddha Pa

Explanation

Malkauns is an audava-audava raga that omits Re and Pa entirely. Its scale is Sa, komal Ga, shuddha Ma, komal Dha, komal Ni, giving it a dark, grave character. The komal Ga and komal Dha are central to its identity.

Question 32Hindustani vocal practical performance (raga presentation, taal, compositions)

Which taal has fourteen matras arranged as 3+4+3+4?

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

Explanation

Jhaptal is a fourteen-matra taal divided 2+3+2+3 in its clap-and-wave pattern, which is counted as 3+4+3+4 when grouped by vibhag. Its theka is Dhi Na | Dhi Dhi Na | Ti Na | Dhi Dhi Na. Dhamar and Deepchandi also have fourteen matras but are grouped differently.

Question 33Hindustani vocal practical performance (raga presentation, taal, compositions)

In Hindustani vocal music, what does the term 'meend' describe?

  1. A composition sung in a single breath
  2. A rhythmic pattern of the tabla
  3. A rapid repetition of a single swara
  4. A smooth glide from one swara to another Correct answer.

Explanation

Meend is a continuous glide between swaras, produced by sliding the voice without a break. It is a central ornament in khayal and dhrupad and shapes the raga's character. It is distinct from gamak, which involves oscillation or forceful movement.

Question 34Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist wants to sing a chhota khayal in raga Bhimpalasi. Which time of day is traditionally prescribed for this raga?

  1. Late afternoon Correct answer.
  2. Midnight
  3. Early morning
  4. Just before dawn

Explanation

Bhimpalasi is assigned to the late afternoon, the third prahar of the day. It uses komal Ga and komal Ni and has a distinctive ascending path that skips Re and Dha in the aroha. Its mood is devotional and slightly yearning.

Question 35Hindustani vocal practical performance (raga presentation, taal, compositions)

A student sings a taan in Teentaal that begins on matra 14 and ends on sam. How many matras does the taan span?

  1. Three matras Correct answer.
  2. Five matras
  3. Four matras
  4. Two matras

Explanation

Counting from matra 14 through matra 16 gives three matras: 14, 15 and 16, with sam falling on matra 1 of the next cycle. Tans are often designed to land on sam so that the resolution coincides with the taal's main stress. A two-matra taan would begin on matra 15.

Question 36Hindustani vocal practical performance (raga presentation, taal, compositions)

In raga Darbari Kanada, which phrase best shows the characteristic slow oscillation of the komal Ga?

  1. Ga Re Sa with a wide, slow oscillation on Ga Correct answer.
  2. Pa Ni Sa with a straight Ni
  3. Sa Re Ga Ma with a fast Ga
  4. Ga Ma Pa with a straight Ga

Explanation

Darbari Kanada is known for its grave, oscillating treatment of komal Ga, often rendered with a wide and slow andolan. The phrase Ga Re Sa, with the oscillation on Ga, is a hallmark of the raga's identity. Straight or fast treatment of Ga would lose the raga's character.

Question 37Hindustani vocal practical performance (raga presentation, taal, compositions)

A performer sings the bols 'Dha Dha Din Ta' repeatedly in a sixteen-matra cycle. Which taal is being indicated?

  1. Sitarkhani Correct answer.
  2. Ektaal
  3. Teentaal
  4. Chautal

Explanation

Sitarkhani is a sixteen-matra taal whose theka is Dha Dha Din Ta | Dha Dha Din Ta | Dha Dha Din Ta | Dha Dha Din Ta, with a distinctive repeated pattern. Teentaal has a different theka with Dhin and Tin. Ektaal has twelve matras and Chautal has twelve.

Question 38Hindustani vocal practical performance (raga presentation, taal, compositions)

Which feature distinguishes a dhrupad composition from a khayal bandish?

  1. Dhrupad compositions are set in a fixed four-part structure with pakhawaj accompaniment Correct answer.
  2. Dhrupad has no sthayi section
  3. Dhrupad uses only sargam syllables
  4. Dhrupad is always sung in Teentaal

Explanation

Dhrupad is a structured form with four sections: sthayi, antara, sanchari and abhog. It is traditionally accompanied by the pakhawaj and set in taals such as Chautal and Dhamar. Khayal is freer and uses tabla accompaniment with greater emphasis on improvisation.

Question 39Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist sings a tarana in raga Bageshri. Which syllable pattern is typical of a tarana text?

  1. Persian couplets about love
  2. Sanskrit shlokas from the Vedas
  3. Syllables such as 'nom tom dere na' Correct answer.
  4. Meaningful Hindi poetry about Krishna

Explanation

A tarana uses meaningless syllables such as 'nom tom', 'dere na', 'tana na' and similar combinations. These syllables are chosen for their rhythmic and phonetic effect rather than meaning. The form is often sung at a fast tempo and is used to conclude a performance.

Question 40Hindustani vocal practical performance (raga presentation, taal, compositions)

In Rupak taal, which matra carries the khali?

  1. Matra 1
  2. Matra 7
  3. Matra 3
  4. Matra 5 Correct answer.

Explanation

Rupak is a seven-matra taal grouped 3+2+2. Its sam is on matra 1, but the khali falls on matra 5, which is the start of the second vibhag. This makes Rupak unusual because the khali is not on a clap position.

Question 41Hindustani vocal practical performance (raga presentation, taal, compositions)

A student wants to show the theka of Dadra on the tabla. Which bol pattern correctly represents it?

  1. Dha Ge Na Ti | Na Ka Dhi Na
  2. Dha Dhin Dhin Dha
  3. Dha Dha Din Ta
  4. Dha Dhin Na | Dha Tin Na Correct answer.

Explanation

Dadra is a six-matra taal grouped 3+3, and its standard theka is Dha Dhin Na | Dha Tin Na. The khali falls on the second group. The pattern is simple and is often one of the first taals taught to beginners.

Question 42Hindustani vocal practical performance (raga presentation, taal, compositions)

A performer sings the phrase 'Sa Re Ga Ma Pa Dha Ni Sa' in a single breath with even rhythm. Which type of taan is this?

  1. Gamak taan
  2. Bol-tan
  3. Meend taan
  4. Sargam taan Correct answer.

Explanation

A sargam taan uses the actual swara names in ascending or descending order, sung at speed with rhythmic precision. The phrase given moves straight up the scale using swara syllables. Bol-tan uses the bandish text instead, while meend taan relies on glides.

Question 43Hindustani vocal practical performance (raga presentation, taal, compositions)

Which statement correctly describes the role of the samvadi in a raga?

  1. It is the note of least importance in the raga
  2. It is the note on which the taal's khali falls
  3. It is the note used only in the antara
  4. It is the second most important note after the vadi Correct answer.

Explanation

The samvadi is the second most important swara in a raga, subordinate to the vadi. The vadi and samvadi together establish the raga's tonal centre and are usually a fourth or fifth apart. They are melodic roles, not rhythmic positions.

Question 44Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist performs a composition in raga Kafi using komal Ga and komal Ni. Which thaat does Kafi belong to?

  1. Kafi thaat Correct answer.
  2. Bhairavi thaat
  3. Asavari thaat
  4. Khamaj thaat

Explanation

Kafi thaat uses shuddha Re, komal Ga, shuddha Ma, shuddha Pa, shuddha Dha and komal Ni. Raga Kafi shares this scale and is the defining raga of the thaat. Khamaj thaat has komal Ni but shuddha Ga, while Asavari has komal Ga, Dha and Ni.

Question 45Hindustani vocal practical performance (raga presentation, taal, compositions)

A student sings a bandish in Ektaal. Which grouping of vibhags correctly represents Ektaal?

  1. 2+2+2+2+2+2 Correct answer.
  2. 3+4+3+4
  3. 4+4+4
  4. 5+2+3+4

Explanation

Ektaal has twelve matras divided into six vibhags of two matras each: 2+2+2+2+2+2. Its theka includes Dhin Dhin, Dha Ge, Ti Ra, Ki Ta, Dha Ge, Ti Ra. The khali positions fall within this scheme.

Question 46Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist wants to end a khayal on sam after a taan that spans three matras in Jhaptal. On which matra should the taan begin?

  1. Matra 11
  2. Matra 9
  3. Matra 10
  4. Matra 8 Correct answer.

Explanation

Jhaptal has ten matras, so a three-matra taan ending on sam must begin three matras before matra 1, that is, on matra 8. The taan then covers matras 8, 9 and 10, resolving on sam. Starting on matra 9 would give a two-matra taan.

Question 47Hindustani vocal practical performance (raga presentation, taal, compositions)

In raga Todi, which phrase best illustrates its characteristic treatment of the komal Re?

  1. Re Ga Re Sa with a subtle oscillation on Re Correct answer.
  2. Re Ga Re Sa with a plain Re
  3. Ga Ma Pa with a plain Ga
  4. Pa Dha Ni Sa with a plain Ni

Explanation

Todi is a morning raga using komal Re, Ga and Dha with tivra Ma. Its komal Re is typically rendered with a delicate oscillation that colours the phrase Re Ga Re Sa. A plain, unornamented Re would not convey the raga's characteristic pathos.

Question 48Hindustani vocal practical performance (raga presentation, taal, compositions)

A performer sings a chhota khayal in raga Desh. Which swara is typically used only in the avaroha and not in the aroha?

  1. Shuddha Ni Correct answer.
  2. Tivra Ma
  3. Komal Ga
  4. Komal Ni

Explanation

Desh is a raga of Khamaj thaat in which shuddha Ni appears in the descending path but the ascent often omits it or uses komal Ni. This asymmetric treatment of Ni is a defining feature of the raga. Komal Ga and tivra Ma are not part of Desh's basic scale.

Question 49Hindustani vocal practical performance (raga presentation, taal, compositions)

In the Bhatkhande notation system, which symbol placed above a swara indicates that it belongs to the upper octave?

  1. A dot below the swara
  2. A horizontal line above the swara
  3. A vertical line after the swara
  4. A dot above the swara Correct answer.

Explanation

In Bhatkhande notation, a dot above a swara marks the upper octave (tar saptak), while a dot below marks the lower octave (mandra saptak). Swaras in the middle octave carry no dot. These marks help the singer place the phrase in the correct register.

Question 50Hindustani vocal practical performance (raga presentation, taal, compositions)

A vocalist sings a meend from Pa down to Ga in raga Bhimpalasi and then returns to Pa. Which feature of the raga does this phrase most directly demonstrate?

  1. The raga's vadi being Pa
  2. The raga's samvadi being Sa
  3. The raga's use of tivra Ma
  4. The raga's characteristic glide-based approach to Ga in the avaroha Correct answer.

Explanation

Bhimpalasi is known for its smooth, glide-based descent in which Ga is approached through meend, giving the raga its plaintive quality. The phrase Pa-Ga-Pa illustrates this ornamental path rather than a plain scalar movement. It does not by itself establish the vadi or introduce tivra Ma.