visharad Poorvardh Model Question Papers 2019 August​

Music education in India has a rich tradition, and examinations like Visharad Poorvardh hold a place of deep significance in the lives of classical music students. If you are preparing for this examination and searching for visharad poorvardh model question papers 2019 august, you have come to the right place. This blog is a comprehensive resource that will walk you through everything you need to know — from the structure of the examination to the types of questions asked, practical tips for preparation, and fully answered sample questions that mirror the August 2019 pattern.

Whether you are a beginner trying to understand what the exam entails or a seasoned student brushing up before the exam, this guide will help you prepare with confidence. We will cover the syllabus, important topics, and provide you with model questions along with detailed answers, so that you can walk into the examination hall with complete preparation and clarity.

Note: The visharad poorvardh model question papers 2019 august are based on the examination pattern followed by major music boards including Gandharva Mahavidyalaya, Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMM), Prayag Sangit Samiti, and similar institutions across India.

Understanding the Visharad Poorvardh Examination

Visharad is one of the most prestigious classical music diploma examinations in India. The term ‘Poorvardh’ refers to the first half of the Visharad course, and upon completion, students receive a diploma that is widely recognized by institutions and universities across the country. The examination is divided into theory (written) and practical components, both of which carry equal importance.

The Visharad Poorvardh is typically offered in subjects such as Sitar, Tabla, Vocal (Hindustani Classical), Harmonium, Flute, Violin, Sarod, and more. The August session is one of the two major examination windows in a year, with the other being held in February or March. The visharad poorvardh model question papers 2019 august remain highly relevant even today because the core syllabus and question patterns have remained largely consistent over the years.

Students appearing in the Visharad Poorvardh examination are expected to have completed their preliminary and madhyama levels successfully. This means they already carry foundational knowledge of ragas, talas, compositions, and theoretical concepts, which are tested more deeply at the Poorvardh level.

Why the 2019 August Paper Is Still Relevant

Many students and teachers ask: why look at old question papers? The answer lies in the way music examinations are structured. Unlike competitive entrance tests that change significantly every year, music board examinations follow a structured and stable syllabus. The types of questions, the depth of theoretical knowledge tested, and the practical expectations remain consistent over many years.

The visharad poorvardh model question papers 2019 august provide one of the most comprehensive examples of what a well-rounded paper looks like. By studying these papers, students can understand the weightage given to different sections, the language and format of questions, and the level of detail expected in answers. It also helps teachers design better practice sessions and mock tests for their students.

Moreover, for students who missed the 2019 examination and appeared in subsequent years, these papers serve as a benchmark to gauge their preparation level. If you can answer all the questions in the visharad poorvardh model question papers 2019 august with confidence, you are well-prepared for the current examination as well.

Pro Tip: Practicing with visharad poorvardh model question papers 2019 august at least four to six weeks before your exam helps you identify weak areas and gives you time to revise those topics thoroughly.

Structure of the Visharad Poorvardh Theory Paper

The theory paper in Visharad Poorvardh is typically divided into multiple sections, each testing different aspects of musical knowledge. Here is a general overview of the structure followed in the 2019 August examination:

Section A — Short Answer Questions

This section contains short questions that test the student’s basic knowledge of music terminology, raga identification, tala structures, and definitions. Each answer is expected to be concise — usually two to five lines. Questions in this section are typically worth two to five marks each.

Section B — Descriptive Questions

Section B requires students to write detailed answers about specific ragas, their characteristics, important compositions (bandishes or gats), and the theoretical framework of those ragas. Students are also expected to describe tala cycles with their vibhags (sections), matras (beats), and theka (rhythm pattern). Answers here need to be detailed and accurate, usually spanning half a page to a full page.

Section C — Analytical and Comparative Questions

In this section, students may be asked to compare two similar ragas (such as Bhairav and Bhairavi, or Yaman and Kalyan), explain the rules (niyam) of specific ragas, or discuss the historical evolution of certain musical styles. This is considered the most challenging section because it tests not just knowledge but also the ability to think analytically about music.

Section D — Notation Writing

Some boards include a notation section where students are required to write the notation for a specific composition or demonstrate their knowledge of sargam (solfege). This section tests the student’s ability to transcribe or reproduce musical ideas in written form.

Important Topics Covered in the 2019 August Paper

Based on the pattern of the visharad poorvardh model question papers 2019 august, the following topics were covered extensively in the written examination:

• Ragas — Yaman, Bhairavi, Kafi, Darbari Kanada, Bihag, Bhimpalasi, Todi, Puriya Dhanashri, Marwa, Kedar
• Talas — Teentaal, Ektaal, Jhaptaal, Rupak, Dadra, Keherwa
• Definitions — Vadi, Samvadi, Anuvaadi, Vivaadi, Vivadi Swar, Graha Swar, Nyasa Swar
• Concepts — Saptak (octaves), Shuddha and Vikrit swaras, Aroha-Avaroha (ascending and descending scale)
• Compositions — Bandishes, Chota Khayal, Bada Khayal, Tarana, Thumri (depending on subject)
• Historical context — Origins of ragas, gharana traditions, key musicians and their contributions
• Practical theory — Fingering techniques, posture, tuning, and instrument care (for instrumental subjects)
• Notation — Bhatkhande notation system, sargam writing, rhythm notation

Understanding these topics deeply is crucial because the visharad poorvardh model question papers 2019 august reveal that questions often blend these areas together. For example, a question might ask you to describe a raga’s aroha-avaroha, its vadi-samvadi, its performance time, and a composition in that raga — all as part of one comprehensive answer.

Model Questions from the 2019 August Pattern — With Answers

The following model questions are based on the style and format of the visharad poorvardh model question papers 2019 august. These cover a wide range of topics from theory, raga knowledge, tala, and historical music concepts. Read each question carefully and study the answers provided.

Raga and Swar Related Questions

Q1. Describe Raga Yaman in detail, including its aroha-avaroha, vadi-samvadi, performance time, and a popular bandish.

Raga Yaman belongs to the Kalyan thaat and is one of the most popular evening ragas in Hindustani classical music. Its aroha (ascending scale) is: Ni Re Ga Ma(teevra) Pa Dha Ni Sa’. Its avaroha (descending scale) is: Sa’ Ni Dha Pa Ma(teevra) Ga Re Ni Re Sa. The vadi (most important note) is Ga and the samvadi is Ni. Raga Yaman is performed during the first prahar of the night, roughly between 6 PM to 9 PM. It uses all seven notes, with the only distinguishing feature being the use of teevra (sharp) Madhyam. The mood of the raga is serene, devotional, and romantic. A well-known bandish in Yaman is ‘Eri Aali Piya Bina’ set in Teentaal. The raga allows ample scope for detailed elaboration in alap, jod, and jhala, making it a favorite among both beginners and advanced performers.

Q2. What is the difference between Vadi, Samvadi, Anuvaadi, and Vivaadi swaras? Give examples.

In Hindustani classical music, each note (swara) in a raga has a specific role and functional importance. The Vadi swara is the most important or most frequently used note in a raga. It acts as the king of the raga and defines its character. For example, in Raga Bhairav, the vadi is Re (Rishabh). The Samvadi is the second most important note, often considered the prime minister. It is usually a fourth or fifth away from the vadi. In Raga Bhairav, the samvadi is Dha (Dhaivat). Anuvaadi swaras are the remaining notes used in a raga — they play a supporting role and appear in compositions without any special emphasis. Vivaadi (or Vivadi) swaras are notes that are generally avoided in a raga because they clash with the raga’s character. However, in some ragas, a vivaadi note may be used once to create a special effect or emotional peak.

Q3. Explain the concept of Saptak and name the three saptaks used in Hindustani classical music.

Saptak literally means ‘a group of seven’ and refers to the seven-note octave in Indian classical music: Sa, Re, Ga, Ma, Pa, Dha, Ni. These seven notes together form one saptak. In Hindustani classical music, there are three saptaks: Mandra Saptak (lower octave), Madhya Saptak (middle octave), and Taar Saptak (upper octave). The middle octave is the most commonly used range in performance. Notes in the mandra saptak are indicated with a dot below the note name, while notes in the taar saptak are indicated with a dot above. In singing, the mandra saptak corresponds to the chest voice, madhya to the natural speaking range, and taar to the head voice or falsetto register.

Tala Related Questions

Q4. Write the theka of Teentaal and explain its structure.

Teentaal is the most commonly used tala in Hindustani classical music, especially for khayal, bandish, and instrumental performance. It has 16 matras (beats) divided into four vibhags (sections) of four matras each. The theka (rhythmic pattern) is: Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha. The sam (first beat) falls on the first Dha, marked with an X. The three khali (empty) vibhags are the third vibhag starting with Dha (some versions differ). The third vibhag uses the syllables Tin and Ta, which are khali (open sounds without bass resonance). Teentaal is versatile and can be performed at slow (vilambit), medium (madhya), and fast (drut) tempos. It provides enough rhythmic space for elaborate improvisation in both vocal and instrumental music.

Q5. What is Jhaptaal? Write its theka and explain where the sam and khali fall.

Jhaptaal is a ten-beat tala divided into four vibhags: 2 + 3 + 2 + 3. It is commonly used in khayal, instrumental music, and some forms of semi-classical music. The theka of Jhaptaal is: Dhi Na | Dhi Dhi Na | Ti Na | Dhi Dhi Na. The sam (beat 1) falls on the first Dhi. The khali (empty beat) falls on the seventh beat, which is Ti Na. The two vibhags with three matras provide a slightly uneven feeling that is characteristic of this tala. Jhaptaal is particularly popular for instrumental compositions (gats) in sitar and sarod music, and is also used in vocal music in the madhya (medium) to drut (fast) tempo range.

Q6. Describe Rupak Taal and write its theka.

Rupak Taal is a seven-beat tala with a very distinctive feature — unlike most talas, the sam (first beat) in Rupak Taal is khali (empty). This makes it unique and initially challenging for students to internalize. The tala is divided into three vibhags: 3 + 2 + 2. The theka is: Ti Ti Na | Dhi Na | Dhi Na. The khali falls on the very first beat, and the tali (clap) begins from the second vibhag onwards. Rupak Taal has an asymmetrical, flowing quality that makes it particularly suitable for bhajans, thumri, and certain instrumental compositions. Students must practice this tala carefully to avoid confusion about the placement of sam and khali.

Historical and Theoretical Questions

Q7. Write a short note on the Bhatkhande Notation System.

Pandit Vishnu Narayan Bhatkhande (1860–1936) was a pioneering musicologist who revolutionized the documentation and teaching of Hindustani classical music. He developed a notation system that allowed music to be written down in a standardized format, making it accessible for students to study without the exclusive dependence on oral transmission. In the Bhatkhande notation system, the seven swaras are abbreviated as S, R, G, M, P, D, N. Upper octave notes have a dot placed above them, lower octave notes have a dot below. Flat (komal) notes are indicated by a horizontal line below the note, while the sharp (teevra) Madhyam is indicated by a vertical line above the M. Rhythmic divisions are separated by vertical lines, and the theka is written in a specific pattern to indicate matras and vibhags. This system is the most widely used notation format in music institutions across India today.

Q8. What is the difference between Khayal and Dhrupad?

Khayal and Dhrupad are both major forms of classical vocal music in the Hindustani tradition, but they differ significantly in style, structure, and emphasis. Dhrupad is the older of the two forms, believed to date back to the 15th and 16th centuries. It is characterized by its austere, meditative quality, use of Sanskrit or Braj Bhasha texts, and a strict adherence to the grammar of the raga. Dhrupad is accompanied by the pakhawaj and begins with a long, slow alap in three stages — nom-tom alap, jod, and jhala — before moving to the composition. Khayal, which became popular in the 18th century, is more flexible and allows for greater improvisation, ornamentation, and expressive freedom. It uses the tabla as accompaniment and is divided into Bada Khayal (slow, vilambit) and Chota Khayal (fast, drut). Khayal compositions are typically set in Hindi, Urdu, or Braj Bhasha, and are considerably shorter than dhrupad bandishes. While dhrupad emphasizes nada (pure sound) and discipline, khayal celebrates emotional expression and creative improvisation.

Q9. Name five important gharanas of Hindustani vocal music and mention one characteristic feature of each.

A gharana is a lineage-based school of classical music transmission in Hindustani tradition. Five major vocal gharanas and their characteristics are: 1) Gwalior Gharana — Considered the oldest khayal gharana, it is known for its clear pronunciation, straight-forward approach to raga elaboration, and use of full swaras without excessive ornaments. 2) Jaipur-Atrauli Gharana — Known for its powerful voice, complex rhythmic interplay (layakari), intricate compositions, and strong adherence to raga grammar. 3) Kirana Gharana — Famous for its slow, meditative alap, emphasis on swar (note) exploration, and use of a large number of meends (glides). 4) Agra Gharana — Known for its bold, heavy voice, strong emphasis on taan work, and a style rooted in dhrupad tradition. 5) Patiala Gharana — Characterized by its romantic, expressive style, elaborate use of ornaments, and beautiful thumri rendering.

Q10. Explain the term ‘Alap’ in the context of a classical performance.

Alap is the opening, unmeasured (not bound by tala) section of a classical performance. It is the stage where the performer introduces the raga slowly and methodically, revealing its characteristic notes, phrases, and emotional atmosphere without the use of any rhythmic cycle. In vocal khayal performance, alap is done over the slow composition using vowel sounds like Aa, Ri, Na, or Na-Om. In instrumental music, the alap is done using the same note patterns but without any rhythmic accompaniment. Alap progresses from the lower notes (mandra saptak) to the middle octave, and then gradually to the upper octave (taar saptak). The purpose of alap is to establish the identity of the raga clearly in the listener’s mind, creating the appropriate rasa (emotional mood) before the rhythmically bound sections begin. A well-performed alap demonstrates the depth of the musician’s understanding of the raga and is considered the hallmark of a mature classical performance.

Practical Knowledge Questions

Q11. What are the different types of compositions performed in Hindustani Classical music? Briefly explain each.

Hindustani classical music has a rich variety of compositional forms: 1) Dhrupad — The oldest and most formal composition type, with Sanskrit or Braj Bhasha lyrics, usually in four parts (sthayi, antara, sanchari, abhog). 2) Khayal — The most popular form today, divided into Bada Khayal (vilambit) and Chota Khayal (drut). 3) Tarana — A fast-tempo vocal composition using Persian or meaningless syllables (da, ni, yalali, om, etc.) rather than words. 4) Thumri — A semi-classical, romantic, and devotional form associated with the Bhakti and Shringar rasas, using Khamaj and related ragas. 5) Tappa — A fast, ornament-heavy style originating from Punjab folk music, characterized by intricate, rapid gamaks. 6) Dadra — A light classical form in six-beat Dadra tala, similar to thumri but shorter and lighter. 7) Bhajan and Ghazal — While not strictly classical, these are important vocal forms studied at the Visharad level, particularly in practical exams.

Q12. What do you mean by Shuddha, Komal, and Teevra Swaras? Name the notes in each category.

In Hindustani classical music, the 12 notes (tones and semitones) are classified into three categories: Shuddha swaras are the natural or pure notes of the scale — Sa, Re, Ga, Ma, Pa, Dha, Ni in their natural positions. Of these, Sa and Pa do not have altered (vikrit) forms and are always shuddha. Komal swaras are the flat versions of Re, Ga, Dha, and Ni. When any of these notes is lowered by a semitone, it becomes komal — for example, Komal Re, Komal Ga, Komal Dha, Komal Ni. Komal notes are indicated with a horizontal line below the note in Bhatkhande notation. Teevra swara refers only to the sharp version of Ma — Teevra Ma (or Tivra Ma), which is raised by a semitone from its natural position. This is the only note that has a teevra (sharp) form in the standard system. Teevra Ma is indicated by a vertical line above the M in Bhatkhande notation.

Tips for Preparing Using Visharad Poorvardh Model Question Papers 2019 August

Preparation strategy is just as important as content knowledge. Here are specific, actionable tips for using the visharad poorvardh model question papers 2019 august effectively:

1. Time Yourself

The theory examination is typically two to three hours long. When practicing with the visharad poorvardh model question papers 2019 august, always set a timer and simulate actual examination conditions. This will help you develop time management skills and ensure you do not spend too long on any single question.

2. Focus on Answer Presentation

Music theory answers should be well-organized. Use clear paragraphs, and when describing ragas, follow a fixed format: thaat, aroha-avaroha, vadi-samvadi, performance time, characteristic phrases (pakad), rasa, and a sample composition. Using this structure consistently will earn you full marks and impress the examiner.

3. Learn the Notation

If your examination includes a notation section, practice writing swaras and tala notations regularly. The Bhatkhande notation system uses specific symbols, and fluency in writing notation quickly and accurately is a skill that requires daily practice.

4. Revise Talas Practically

Do not just memorize the thekas — actually clap or tap them out while studying. Understanding the feel of a tala helps you answer written questions about it more naturally and accurately.

5. Create Summary Sheets

After working through the visharad poorvardh model question papers 2019 august, create a one-page summary sheet for each raga and each tala. Include all the key details in bullet form. These summary sheets will be invaluable for quick revision in the days before your examination.

Common Mistakes Students Make in the Theory Examination

Having studied the pattern from the visharad poorvardh model question papers 2019 august, here are the most common mistakes that cause students to lose marks in the theory examination:

• Writing only the theka of a tala without explaining its vibhags, matras, or the placement of sam and khali
• Confusing similar ragas such as Bhairav and Bhairavi, or Yaman and Kalyan — always highlight the distinguishing features
• Skipping the performance time of a raga, which is always expected in a complete raga description
• Not writing the Vadi and Samvadi for each raga — these are fundamental and carry specific marks
• Using vague language in comparative answers instead of specific musical examples
• Not practicing notation writing, resulting in poor marks in that section
• Writing answers that are too short for descriptive questions — aim for at least half a page for five-mark questions

How to Find and Access Official Model Question Papers

While this blog provides comprehensive model questions in the style of the visharad poorvardh model question papers 2019 august, students should also seek official or institution-specific papers. Here is how to access them:

• Visit the official website of your music board — such as Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMM), Prayag Sangit Samiti, or Bhatkhande Music Institute
• Contact your local music institution or gurukul — many teachers maintain a collection of past papers
• Visit state music academies and their libraries, which often have archives of past examination papers
• Join online music student forums and communities where students share resources and model papers
• Ask your examination board directly — many boards now publish model papers on their official portals

Remember, while model papers give you an excellent idea of the examination pattern, your preparation must also include deep engagement with the actual practice of music. Theory and practical must go hand in hand for a truly successful performance in the Visharad Poorvardh examination.

Conclusion

The Visharad Poorvardh examination is a milestone in the classical music education journey of every serious music student in India. By studying the visharad poorvardh model question papers 2019 august carefully and practicing the questions and answers provided in this guide, you will be well on your way to achieving excellent results in both the theory and practical components.

Music is not just an examination — it is a lifelong relationship with sound, rhythm, and emotion. While preparing for the examination, do not forget to enjoy the process of learning. Practice your ragas with attention and love, spend time with your tala, and let music become a part of your daily life.

Additional Related Questions and Answers for Further Practice

Here are more practice questions in the style of the visharad poorvardh model question papers 2019 august to help you strengthen your preparation:

Q. What is the difference between Aaroha and Avaroha?

Aaroha (or Aroha) refers to the ascending pattern of notes in a raga — that is, the sequence of swaras as they move upward from lower Sa to upper Sa. Avaroha refers to the descending pattern, moving from upper Sa down to lower Sa. In most ragas, the aroha and avaroha follow slightly different paths, using different notes or omitting certain notes in each direction. For example, in Raga Bhimpalasi, the aroha omits Re and Dha (making it pentatonic in ascent), while the avaroha uses all seven notes. This asymmetry between aroha and avaroha is one of the defining features of ragas in Hindustani classical music and is what gives each raga its unique melodic personality.

Q. Write a short note on Raga Bhairavi.

Raga Bhairavi is one of the most loved and versatile ragas in Hindustani classical music. It belongs to the Bhairavi thaat and uses all seven notes in their komal (flat) form — komal Re, komal Ga, shuddha Ma, komal Dha, and komal Ni. The vadi is Ma and the samvadi is Sa. Traditionally, Bhairavi is performed at the conclusion of a concert, serving as a farewell raga. However, it can technically be sung at any time. The raga carries a deeply emotional, melancholic, and devotional quality. Many famous thumris, dadras, bhajans, and even some folk songs are composed in Bhairavi. It is also notable for allowing the use of all 12 notes (including shuddha notes as passing tones), which gives performers enormous expressive freedom.

Q. What is the meaning of the term ‘Gharana’ in Indian classical music?

The term ‘Gharana’ literally means ‘house’ or ‘family’ in Hindi and Urdu. In the context of Indian classical music, a gharana refers to a lineage-based school or tradition of musical teaching and performance. Each gharana has its own distinct style, repertoire, approach to raga elaboration, and pedagogical method that has been passed down through generations of guru-shishya (teacher-student) relationships. The gharana system ensured the preservation of specific musical styles over centuries. For example, the Jaipur-Atrauli Gharana in vocal music is known for its complexity and raga grammar, while the Maihar Gharana in instrumental music is known for its structural approach and alap. Today, while the strict boundaries of gharana tradition have softened due to the influence of modern education, the concept still plays an important role in defining a musician’s artistic identity and lineage.

Q. Explain the term ‘Meend’ and its importance in Hindustani classical music.

Meend (also written as Meed) is a glide or portamento between two notes in Hindustani classical music. Unlike a discrete jump from one note to another, a meend involves a smooth, continuous slide through the intermediate pitches. It is one of the most characteristic and expressive ornaments in Indian classical music, particularly in vocal singing and in the playing of string instruments like sitar, sarod, and veena. The use of meend gives phrases a liquid, flowing quality that is distinctive to Indian classical music. In Raga Darbari Kanada, for example, the distinctive treatment of Gandhar (Ga) with a heavy, oscillating meend is a fundamental part of the raga’s identity. Learning to execute meend correctly requires years of practice, and its quality is often what distinguishes a beginner from an advanced musician.

Q. What is the significance of ‘Rasa’ in Indian classical music?

Rasa, a concept originating in the Natyashastra of Bharata Muni, refers to the emotional essence or aesthetic experience evoked by a work of art. In Indian classical music, each raga is associated with specific rasas. The nine primary rasas (Navarasas) are: Shringar (love/beauty), Hasya (humor), Karuna (pathos), Raudra (fury), Vir (heroism), Bhayanaka (terror), Bibhatsa (disgust), Adbhuta (wonder), and Shanta (peace). Different ragas are designed to evoke specific rasas. For example, Raga Bhairavi evokes Karuna and Shringar rasas, while Raga Bhairav evokes Shanta rasa. The time of day and season associated with each raga also influence the rasa it conveys. A skilled musician not only plays the correct notes of a raga but also inhabits the rasa of that raga, transmitting an emotional experience to the audience.