Raga

Step 1: Understanding the Concept:
The question asks to identify which of the given ragas use 'Chatushruti Rishabham' (R2), a specific variety of the Rishabha swara in Carnatic music.
Step 2: Detailed Explanation:
Let's examine the scale of each raga:
- (A) Mohanam: Its scale is S R2 G3 P D2 S'. It uses Chatushruti Rishabham (R2).
- (B) Hindolam: Its scale is S G2 M1 D1 N2 S'. This raga does not use Rishabham at all; it is a 'varjit' (omitted) swara.
- (C) Kalyani: Its scale is S R2 G3 M2 P D2 N3 S'. It uses Chatushruti Rishabham (R2).
- (D) Sreeranjani: Its scale is S R2 G2 M1 D2 S' / S N2 D2 M1 G2 R2 S'. It uses Chatushruti Rishabham (R2).
Therefore, the ragas that use Chatushruti Rishabham are Mohanam, Kalyani, and Sreeranjani.
Step 3: Final Answer:
The correct combination is (A), (C), and (D).

Step 1: Understanding the Concept:
The question asks to identify a 'Shadava' raga from the list. A Shadava raga is hexatonic, meaning it uses six notes in its scale (either in ascent, descent, or both).
Step 2: Detailed Explanation:
- Mohanam: An Audava raga (5 notes: S R G P D S).
- Hindolam: Another Audava raga (5 notes: S G M D N S).
- Sreeranjani: This raga is classified as Audava-Shadava. Its ascent (Aroha) has 5 notes (S R G M D S), and its descent (Avaroha) has 6 notes (S N D M G R S). Since it contains a six-note phrase, it can be considered a Shadava raga.
- Kalyani: A Sampurna raga, using all 7 notes.
Among the given choices, Sreeranjani is the only one that fits the definition of a Shadava raga due to its six-note descent.
Step 3: Final Answer:
Sreeranjani is the correct choice as it is an Audava-Shadava raga.

Step 1: Understanding the Concept:
The question asks to identify an 'Audava' raga from the options. Ragas are classified by their 'Jati' based on the number of notes in their scale. An Audava raga is a pentatonic raga, meaning it uses five notes in its scale.
Step 2: Detailed Explanation:
- Sreeranjani: This is an Audava-Shadava raga (5 notes in ascent, 6 in descent).
- Mohanam: This is a classic Audava raga with the scale S R G P D S'. It has exactly five notes.
- Sankarabharanam: This is a Sampurna raga (a complete scale with all seven notes).
- Kalyani: This is also a Sampurna raga (seven notes).
Step 3: Final Answer:
Mohanam is the Audava raga among the choices provided.

Step 1: Understanding the Concept:
The question asks to identify the Carnatic raga from the given options that uses 'Suddha Rishabha' (R1), which is the lowest of the three Rishabha variants.
Step 2: Detailed Explanation:
Let's analyze the Rishabha (Re) swara used in each raga:
- Kalyani: This is the 65th Melakarta raga and uses Chatushruti Rishabham (R2).
- Sreeranjani: A janya of the 22nd Melakarta Kharaharapriya, it also uses Chatushruti Rishabham (R2).
- Mayamalavgaula: This is the 15th Melakarta raga. Its scale is S R1 G3 M1 P D1 N3 S'. It uses Suddha Rishabham (R1) and is the raga in which initial music lessons are taught in Carnatic music.
- Mohanam: A popular pentatonic raga, it uses Chatushruti Rishabham (R2).
Step 3: Final Answer:
Mayamalavgaula is the raga among the options that employs Suddha Rishabha (R1).

Step 1: Understanding the Concept:
In the structure of a raga, swaras (notes) are categorized based on their importance and function. The question asks to identify the most important or prominent swara.
Step 2: Detailed Explanation:
The four categories of swaras in a raga are:
1. Vadi (King): This is the most important and most frequently used swara in a raga. It is the central point around which the melodic phrases are built.
2. Samvadi (Minister/Queen): This is the second most important swara. It has a consonant relationship with the Vadi swara, typically being four or five notes away.
3. Anuvadi (Attendant): These are all the other swaras present in the raga, apart from the Vadi and Samvadi.
4. Vivadi (Enemy): This is a dissonant note that is not part of the raga's scale. It is either completely avoided or used very sparingly by a skilled musician to add a specific emotional color.
Step 3: Final Answer:
Based on the definitions, the Vadi is the most prominent swara of a raga.

Step 1: Understanding the Concept:
This question requires matching four prominent Hindustani ragas with their respective Vadi (most important) and Samvadi (second most important) swaras.
Step 2: Detailed Explanation:
- (A) Bhupali: An audav raga of Kalyan that. Its Vadi swara is Gandhar (Ga) and its Samvadi swara is Dhaivat (Dha). So, (A) matches with (IV).
- (B) Yaman: A sampurna raga of Kalyan that. Its Vadi swara is Gandhar (Ga) and its Samvadi swara is Nishad (Ni). So, (B) matches with (III).
- (C) Malkauns: An audav raga of Bhairavi that. Its Vadi swara is Madhyam (Ma) and its Samvadi swara is Shadja (Sa). So, (C) matches with (I).
- (D) Bhairav: The namesake raga of Bhairav that. It uses Komal Re and Komal Dha. Its Vadi swara is Komal Dhaivat (Dha) and its Samvadi swara is Komal Rishabh (Re). So, (D) matches with (II).
Step 3: Final Answer:
The correct set of matches is A-IV, B-III, C-I, D-II, which corresponds to option (D).

Step 1: Understanding the Concept:
The question asks to identify the swaras (notes) that are omitted (varjit) in Raga Bhupali.
Step 2: Detailed Explanation:
Raga Bhupali is a popular Audav Jati (pentatonic) raga. This means it uses only five notes in both its ascent (aroha) and descent (avaroha).
The scale of Raga Bhupali is:
- Aroha: S R G P D S'
- Avaroha: S' D P G R S
The seven standard swaras are Sa (S), Re (R), Ga (G), Ma (M), Pa (P), Dha (D), Ni (N).
By comparing the Bhupali scale to the full seven-note scale, we can see that Madhyam (Ma) and Nishad (Ni) are not used.
From the list given: (A) Re is used, (B) Ma is not used, (C) Pa is used, and (D) Ni is not used.
Therefore, the swaras not used are (B) Ma and (D) Ni.
Step 3: Final Answer:
The correct combination of swaras not used in Raga Bhupali is (B) and (D).

Step 1: Understanding the Concept:
The question asks to identify a 'Sandhiprakash' raga from the given list. Sandhiprakash ragas are those that are performed during the twilight hours—dawn (sunrise) and dusk (sunset).
Step 2: Detailed Explanation:
The key characteristic of Sandhiprakash ragas is the use of Komal Rishabh (re) and Komal Dhaivat (dha). Let's analyze the options:
- Alhaiya Bilawal: A morning raga (9 AM - 12 PM), uses all Shuddha (natural) notes.
- Bageshree: A late-night raga (12 AM - 3 AM).
- Bhairav: This is the archetypal morning Sandhiprakash raga, sung at sunrise. It is defined by its use of Komal Re and Komal Dha.
- Bhupali: An evening raga, but it belongs to the Kalyan that and does not use the characteristic Komal Re and Dha of Sandhiprakash ragas.
Step 3: Final Answer:
Bhairav is the Sandhiprakash raga among the given options.

Step 1: Understanding the Concept:
The question asks for the specific time of day or night assigned to Raga Malkauns according to the 'Samay Chakra' or Time Theory of Hindustani ragas.
Step 2: Detailed Explanation:
Raga Malkauns is a profound, meditative raga belonging to the Bhairavi that. According to the time theory, it is assigned to the last prahar (a 3-hour period) of the night. This period corresponds to the time just after midnight. Therefore, its designated performance time is 'Madhya Ratri' or midnight.
Step 3: Final Answer:
The time of Raga Malkauns is Madhya Ratri (Mid Night).