CBSE 2024 Class 12 MUSIC HINDUSTANI Vocal Question Paper (Avaliable): Download Solution PDF With Answer Key

Sangeet Ratnakar, written by Sharangdev, is a 13th-century Sanskrit text on music. It mentions 38 varieties of Gamak. These Gamaks are essential for ornamentation in classical music, providing emotional and aesthetic depth to notes.

\begin{quicktipbox
Gamak refers to musical ornamentation and oscillations that enrich the melodic expression in Indian classical music.
\end{quicktipbox Quick Tip: Gamak refers to musical ornamentation and oscillations that enrich the melodic expression in Indian classical music.

Murchhana refers to the scale formed by a specific arrangement of the seven swaras (Sa, Re, Ga, Ma, Pa, Dha, Ni) in an ascending and descending order. It is an ancient concept used to understand the structure of ragas.

\begin{quicktipbox
Murchhana is the base for creating melodic patterns and improvisations in Indian classical music.
\end{quicktipbox Quick Tip: Murchhana is the base for creating melodic patterns and improvisations in Indian classical music.

Ustad Faiyaz Khan was a legendary vocalist of the Agra Gharana. He was renowned for his powerful voice and mastery in Khayal singing. He enriched the Agra Gharana style with his innovative techniques and was one of the foremost exponents of his time.

\begin{quicktipbox
Agra Gharana emphasizes bol-bant, layakari, and Dhrupad-influenced Khayal singing.
\end{quicktipbox Quick Tip: Agra Gharana emphasizes bol-bant, layakari, and Dhrupad-influenced Khayal singing.

Let’s evaluate each statement:

- i. Dhamar Taal has 14 beats and is divided into 4 Vibhags. → Correct

- ii. Vilambit Khayal is a slow tempo rendition. 'Chota Khayal' refers to a fast tempo (Drut). → Incorrect

- iii. Sandhi Prakash Ragas are rendered during twilight hours (early morning or evening, approx. 4 to 7). → Correct

- iv. The Vadi swar of Raga Bageshri is 'Ma', not 'Dha'. → Incorrect


So, correct statements: ii and iii.

\begin{quicktipbox
Sandhi Prakash Ragas like Marwa, Purvi, and Bageshri are sung during sunrise or sunset to match the mood of the time.
\end{quicktipbox Quick Tip: Sandhi Prakash Ragas like Marwa, Purvi, and Bageshri are sung during sunrise or sunset to match the mood of the time.

Let's evaluate each statement:

- i. Sangeet Parijat was written by Ahobal in the 17th century, not the 13th. → Incorrect

- ii. Raga Malkauns does not use 'Re' and 'Pa'. It uses only five notes: Sa, Ga, Ma, Dha, Ni. → Correct

- iii. In ancient Indian music theory, there are seven Murchhanas starting from each of the seven swaras in Shadaj Gram. → Correct

- iv. Sharang Dev, in Sangeet Ratnakar, mentioned 264 Ragas, not 306. → Incorrect


Hence, statements ii and iii are correct.

\begin{quicktipbox
Raga Malkauns is an Audav (pentatonic) Raga that omits Re and Pa, and is often sung at midnight.
\end{quicktipbox Quick Tip: Raga Malkauns is an Audav (pentatonic) Raga that omits Re and Pa, and is often sung at midnight.

- 1. Raga-Vivek-Adhyay is a chapter in Sangeet Ratnakar that discusses Ragas. → (iii)

- 2. Meend is a glide from one note to another, commonly executed between Sa and Ma. → (i)

- 3. Vilambit Khayal is the slow tempo composition of Khayal, also known as Bada Khayal. → (ii)

- 4. Raga Bageshri has prominent notes Ga and Ni. → (iv)


Therefore, correct matching is:
1-(iii), 2-(i), 3-(ii), 4-(iv).

\begin{quicktipbox
Bada Khayal refers to the slow, elaborate composition usually sung first in a Khayal performance.
\end{quicktipbox Quick Tip: Bada Khayal refers to the slow, elaborate composition usually sung first in a Khayal performance.

- Statement I: The swara phrases like "Ga Ma Dha Pa, Ma Pa Ga Ma Re Re Sa" are indeed used in Raga Bhairav, which uses Komal Re and Komal Dha with slow, meditative phrases. → Correct

- Statement II: Sangeet Parijat is a 17th-century text written by Pandit Ahobal, covering Raga Lakshan and other musical concepts. → Correct


Therefore, both statements are correct.

\begin{quicktipbox
Raga Bhairav is often sung in the early morning and has a serious, devotional mood using Komal Re and Dha.
\end{quicktipbox Quick Tip: Raga Bhairav is often sung in the early morning and has a serious, devotional mood using Komal Re and Dha.

- Statement I: In a Tanpura, Jodi Taar (the second and third strings) are typically tuned to 'Shadaj' (Sa), reinforcing the base note. → Correct

- Statement II: Pt. Vishnu Digambar Paluskar is credited with formalizing the Raga Samay Chakra (Time Cycle of Ragas) during the modern era to standardize performance times. → Correct


Hence, both statements are correct.

\begin{quicktipbox
Tanpura tuning follows a standard pattern: Pa - Sa - Sa - Sa or Ni - Sa - Sa - Sa, depending on the Raga.
\end{quicktipbox Quick Tip: Tanpura tuning follows a standard pattern: Pa - Sa - Sa - Sa or Ni - Sa - Sa - Sa, depending on the Raga.

(i) Kan:
Kan swara is a grace note or an auxiliary note that is used as an ornamentation to enhance the beauty of the main note. It is sung quickly and subtly before or after the main swara. It gives a fluid and aesthetic character to the raga.

(ii) Meend:
Meend is the continuous glide or smooth transition from one note to another without touching intermediate notes separately. It is a fundamental ornamentation in Indian classical music, creating a flowing and connected melodic movement between swaras.

\begin{quicktipbox
Ornamentations like Kan and Meend enrich the emotional and melodic expression in Raga performance.
\end{quicktipbox Quick Tip: Ornamentations like Kan and Meend enrich the emotional and melodic expression in Raga performance.

Raga Malkauns is one of the most ancient and powerful ragas in Hindustani classical music. Below are its salient features:

- Jati: Audav – Audav (5 notes in both ascent and descent).

- Arohana: Sa Ga Ma Dha Ni Sa’

- Avarohana: Sa’ Ni Dha Ma Ga Sa

- Vadi: Ma

- Samvadi: Sa

- Time of Performance: Late night (12 am – 3 am)

- Nature: Serious, meditative, and introspective in mood.

- Special Features: Raga Malkauns omits Re and Pa. All swaras used are Komal except Ma, which is Shuddha. It is known for its deep and profound melodic appeal.

\begin{quicktipbox
Raga Malkauns is considered a “Shakti Raga,” often associated with tantric and devotional energy, and is sung in slow tempo for maximum effect.
\end{quicktipbox Quick Tip: Raga Malkauns is considered a “Shakti Raga,” often associated with tantric and devotional energy, and is sung in slow tempo for maximum effect.

Sangeet Parijat is a renowned Sanskrit treatise on Indian classical music written by Pandit Ahobal in the 17th century. It consists of detailed discussions on Swaras, Ragas, Talas, and the theoretical foundation of Indian classical music.

Key points include:
- It includes Raga Lakshan (characteristics of Ragas).

- The text is divided into chapters that cover both vocal and instrumental music.

- It serves as a bridge between ancient texts like Sangeet Ratnakar and modern music theory.

\begin{quicktipbox
Sangeet Parijat is especially important for understanding the structure and evolution of Ragas in medieval Indian music.
\end{quicktipbox Quick Tip: Sangeet Parijat is especially important for understanding the structure and evolution of Ragas in medieval Indian music.

Raga Bageshri is a popular night raga with a romantic and devotional mood.

- Jati: Audav–Sampurna

- Arohana: Sa Ga Ma Dha Ni Sa'

- Avarohana: Sa' Ni Dha Pa Ma Ga Re Sa

- Vadi: Ma \quad Samvadi: Sa

- Time: Late night (9 PM – 12 AM)

Example Swara Phrase of 50 notes (approx.):
Sa Ga Ma Dha Ni – Sa' Ni Dha Pa – Ma Ga – Ga Ma Re Sa – Ga Ma Dha Ni – Sa' Ni Dha – Pa Ma Ga – Re Sa – repeated and varied with Meend, Kan, and Gamak.

\begin{quicktipbox
Use of Ga and Ni with Meend is essential in Bageshri to retain its identity and expressiveness.
\end{quicktipbox Quick Tip: Use of Ga and Ni with Meend is essential in Bageshri to retain its identity and expressiveness.

Dhamar Taal – 14 Matras, Divided into 4 Vibhags: 5 + 2 + 3 + 4

Theka (Thah):
Ka Dha | Dhi Ta | Dhi Dha | Aa Dhi |

Dugun (Double speed):
Ka Dha Dhi Ta | Dhi Dha Aa Dhi | Ka Dha Dhi Ta | Dhi Dha Aa Dhi |

\begin{quicktipbox
Dhamar Taal is traditionally used in the rendition of Dhrupad and Dhamar compositions, especially during Holi festival.
\end{quicktipbox Quick Tip: Dhamar Taal is traditionally used in the rendition of Dhrupad and Dhamar compositions, especially during Holi festival.

The Tanpura is a drone instrument used to support vocal and instrumental performances. It generally has four strings.

Tuning (standard for male voice):
- 1st string (outermost): Pa (or Ni in some ragas)

- 2nd string: Sa (Shadaj – tonic)

- 3rd string: Sa (Shadaj – tonic)

- 4th string (innermost): Sa (lower octave)


Female tuning may vary slightly to accommodate pitch.

\begin{quicktipbox
Proper Tanpura tuning is essential for achieving the correct pitch and creating the right musical atmosphere for Raga performance.
\end{quicktipbox Quick Tip: Proper Tanpura tuning is essential for achieving the correct pitch and creating the right musical atmosphere for Raga performance.

The Time Theory of Ragas categorizes Ragas based on the most appropriate time of the day or night for their performance. It is based on the belief that each Raga evokes a certain mood (Rasa) which harmonizes with nature and time.

Modern Features:
- Day divided into 8 Prahars (3-hour periods)

- Some ragas (like Bhairav, Todi) are morning ragas.

- Others (like Yaman, Bageshri) are evening or night ragas.

- Codified in modern times by Pt. Vishnu Digambar Paluskar and Bhatkhande.

\begin{quicktipbox
Time theory helps maintain the emotional and aesthetic connection of Ragas with the audience and natural cycles.
\end{quicktipbox Quick Tip: Time theory helps maintain the emotional and aesthetic connection of Ragas with the audience and natural cycles.

Label the following parts:
1. Ghoraj (Tuning Pegs)

2. Tumba (Resonator)

3. Tabli (Soundboard)

4. Dand (Neck)

5. Tar (Strings)

6. Meru (Bridge)


\begin{quicktipbox
While drawing a Tanpura, mark parts clearly with arrows and keep proportions realistic. Avoid unnecessary decoration.
\end{quicktipbox Quick Tip: While drawing a Tanpura, mark parts clearly with arrows and keep proportions realistic. Avoid unnecessary decoration.

(i) Murchhana:
Murchhana is the melodic formation achieved by shifting the tonic (Sa) to any other note of the scale while maintaining the sequence of intervals. It gives rise to a different perception of the same set of swaras and is a foundation for creating various ragas in ancient Indian music theory.

(ii) Alap:
Alap is the slow, introductory, and non-rhythmic improvisation of a raga. It serves to present the mood, character, and swaras of the raga. It is typically performed in Dhrupad and instrumental music and may consist of three parts: Vilambit Alap, Madhya Alap, and Drut Alap.

\begin{quicktipbox
Murchhana is scale-shifting, while Alap is the soul of raga exposition, revealing its mood without rhythm or lyrics.
\end{quicktipbox Quick Tip: Murchhana is scale-shifting, while Alap is the soul of raga exposition, revealing its mood without rhythm or lyrics.

(i) Raga Bhairav
- Thata: Bhairav

- Vadi: Dha

- Samvadi: Re

- Jati: Sampurna–Sampurna

- Pakad: Sa Re (komal) Ga Ma Pa, Dha (komal) Pa Ma Ga Re Sa

\medskip

(ii) Raga Bageshri
- Thata: Kafi

- Vadi: Ma

- Samvadi: Sa

- Jati: Audav–Sampurna

- Pakad: Ni (komal) Sa Ga Ma, Dha Ma Ga, Re Sa

\begin{quicktipbox
Pakad defines the signature phrase of a raga, while Thata is its parent scale; always memorize both for clear raga identification.
\end{quicktipbox Quick Tip: Pakad defines the signature phrase of a raga, while Thata is its parent scale; always memorize both for clear raga identification.

Raga: Yaman

Taal: Vilambit Ektaal

Sthai:

S \hspace{0.5cm r \hspace{0.5cm G \hspace{0.5cm m \hspace{0.5cm P \hspace{0.5cm D \hspace{0.5cm N \hspace{0.5cm S’

S’ \hspace{0.5cm N \hspace{0.5cm D \hspace{0.5cm P \hspace{0.5cm m \hspace{0.5cm G \hspace{0.5cm r \hspace{0.5cm S


Antara:

M’ \hspace{0.5cm G’ \hspace{0.5cm M’ \hspace{0.5cm D \hspace{0.5cm N \hspace{0.5cm S’

S’ \hspace{0.5cm N \hspace{0.5cm D \hspace{0.5cm P \hspace{0.5cm M \hspace{0.5cm G \hspace{0.5cm r \hspace{0.5cm S


Tana 1:

S r G m P, m G r S, r G m D N S’

S’ N D P m G r S


Tana 2:

G m P D N S’, D N P M G r S

S r G r S, S N D P, m G r S


\begin{quicktipbox
In Vilambit Khayal, elaborate melodic phrases and Tanas highlight the Raga's depth—maintain tempo consistency in Ektaal.
\end{quicktipbox Quick Tip: In Vilambit Khayal, elaborate melodic phrases and Tanas highlight the Raga's depth—maintain tempo consistency in Ektaal.

Raga: Bhimplasi

Taal: Teentaal

Tarana Notation:

Na \hspace{0.5cm Dir \hspace{0.5cm Tan \hspace{0.5cm Tom \hspace{0.5cm Yala \hspace{0.5cm Da \hspace{0.5cm Re

Na \hspace{0.5cm Tum \hspace{0.5cm Dir \hspace{0.5cm Na \hspace{0.5cm Tom \hspace{0.5cm Tan \hspace{0.5cm Yala \hspace{0.5cm Re


P D m G, m G r S, \hspace{0.5cm m P D S’, N D P m

m G r S, S r G r S \hspace{0.5cm N D P, m G r S


\begin{quicktipbox
A Tarana uses rhythmic syllables (bols) like “Tan Dir Tom” that emphasize layakari and taan-like patterns in faster tempo.
\end{quicktipbox Quick Tip: A Tarana uses rhythmic syllables (bols) like “Tan Dir Tom” that emphasize layakari and taan-like patterns in faster tempo.

Artist: Pt. Ulhas Kashalkar (Khayal Gayan)

Pandit Ulhas Kashalkar is a renowned contemporary vocalist of the Hindustani classical tradition. He represents the Gwalior, Jaipur, and Agra Gharanas and is known for his command over the Khayal style.

Specialities of His Singing Style:
- Mastery over layakari (rhythmic play) and bol-bant

- Seamless blending of stylistic elements from multiple gharanas

- Deep voice control and clarity in pronunciation

- Emphasis on raga bhava (emotion) and traditional bandish

- Expertise in slow elaboration (Vilambit) and fast taan patterns (Drut)


\begin{quicktipbox
Pt. Ulhas Kashalkar's gayaki (singing style) is a model for students seeking clarity, tradition, and emotional depth in Khayal music.
\end{quicktipbox Quick Tip: Pt. Ulhas Kashalkar's gayaki (singing style) is a model for students seeking clarity, tradition, and emotional depth in Khayal music.

Raga 1: Yaman

Alap (notation up to 100 swaras):

S – r (Kan) G~ (Meend) – M – P – D~ – N – S’ – N~ – D – P – M~ – G – r – S

S – r – G – M~ – D – N – S’ – N – D – P~ – M – G – r – S – r – G – M~ – P – D – N – S’

S’ – N – D~ – P – M – G – M (Gamak) – r – S – r – G – M – D – N – S’ – N – D – P – M~ – G – r – S


Raga 2: Bageshri

Alap (notation up to 100 swaras):

S – N~ (Kan) – S – G – M~ – D – M – G – r – S

G – M – D~ – M – G~ – r – S – S – G – M – D – N – S’ – N – D – M – G – r – S

S – G – M (Gamak) – D – M – G – M – D – N – S’ – D – M – G – r – S – N~ – S – G – M – D – M – G – r – S

\begin{quicktipbox
Use "~" for Meend, curved Kan transitions for grace notes, and emphasize Gamak with repetition or vibration of the note in Alap.
\end{quicktipbox Quick Tip: Use "~" for Meend, curved Kan transitions for grace notes, and emphasize Gamak with repetition or vibration of the note in Alap.