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100+ Free CHSE Odisha Vocational Odissi Pakhwaj (Mardal) Practice Questions

Council of Higher Secondary Education, Odisha (CHSE Odisha) Higher Secondary (+2) Vocational Odissi Pakhwaj (Mardal) practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: CHSE Odisha Vocational Odissi Pakhwaj (Mardal) Exam

Theory 40 + Practical 60

Official mark split per vocational trade paper under Part-III scheme

CHSE Odisha Vocational Courses Part-III (Part-1-3.pdf)

200 marks / year

Trade subject total with two papers (I–II or III–IV) each year

CHSE Odisha Part-III scheme of studies

~2 hours theory

Typical duration for each 40-mark theory paper

CHSE Odisha Part-III duration table

OP / Mardal

AHSE subject coding commonly lists Mardal (Odissi Pakhwaj) as OP

CHSE Odisha AHSE programme / question-paper requirement notices

Part-1-3 PDF

Official vocational syllabus host for Odissi Pakhwaj (Mardal) Papers I–IV

chseodisha.nic.in/wp-content/uploads/2024/11/Part-1-3.pdf

English MCQ adaptation

This free local bank is theory-only and not the official performance or full written-paper format

OpenExamPrep practice policy

CHSE Odisha +2 vocational Odissi Pakhwaj (Mardal): theory 40 + practical 60 per trade paper under Part-1-3 (confirm circular). Covers construction, bols, Odissi talas, compositions, layakari, sangat, and instrument comparisons. Free 2026 MCQ bank is a theory study adaptation—not a performance practical replacement.

Sample CHSE Odisha Vocational Odissi Pakhwaj (Mardal) Practice Questions

Try these sample questions to test your CHSE Odisha Vocational Odissi Pakhwaj (Mardal) exam readiness. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1In classical Indian instrument classification (badya bibhagikaran), the Mardal belongs to which class?
A.Anaddha (avanaddha) vadya — membrane drums
B.Tat vadya — string instruments only
C.Susira vadya — wind instruments only
D.Ghana vadya — solid metallic idiophones only
Explanation: Treatises group instruments as tat (strings), susira (winds), anaddha/avanaddha (membrane drums), and ghana (solid/metallic). The Mardal is a two-headed membrane drum, so it is anaddha (avanaddha) vadya.
2According to traditional Odisha construction guidance reflected in music treatises, which wood is especially ideal (uttama) for making a Mardal body?
A.Soft balsa wood only
B.Khaira (Acacia catechu / khadira) wood
C.Hollow bamboo tube only
D.Plastic composite only
Explanation: Traditional descriptions prize khaira (khadira, Acacia catechu) for the Mardal shell; raktachandana and certain other hardwoods are also praised. Soft balsa, bare bamboo tubes, and plastic are not classical shell materials.
3How is the overall body shape of a classical Mardal best described?
A.A perfectly spherical gourd with one open hole and no skins
B.A single-faced frame drum like a large tambourine only
C.A barrel-shaped wooden shell thicker at the middle than at the ends, with two unequal membrane faces
D.A metal kettle drum with pedals
Explanation: The Mardal is a horizontal barrel drum: the wooden shell bulges at the middle and narrows toward two playing faces covered with skins. Faces are unequal in diameter (left larger than right).
4In Mardal construction terminology used in Odissi practice, the chhappar (pudi) primarily refers to:
A.Only the wooden tuning pegs of a violin
B.Only the frets of a sitar
C.Only the metal bell of a wind instrument
D.The prepared drumhead / skin face mounted on the shell
Explanation: Paper-I theory specifically includes knowledge of making the chhappar (pudi)—the membrane face prepared and fitted to the Mardal. It is not a string-instrument fret or wind-instrument bell.
5On a traditional Mardal, how do the two playing faces typically compare in size?
A.The left face is larger in diameter than the right face
B.Both faces must be exactly equal in every measurement with no exception
C.The right face is always many times larger than a full dhol face
D.There is only one playing face
Explanation: Classical measurements describe unequal faces: the left face is larger (about twelve–thirteen angulas in treatise measures) and the right face is slightly smaller. Players exploit the two faces for different tonal roles.
6What is the traditional black/loading paste commonly associated with the right playing face of the Mardal called in Odia construction discussion?
A.Rosin for violin bows only
B.Kharali (syahi-type loading paste applied in rounds and dried)
C.Shellac for wood polishing only with no acoustic role
D.Only machine oil with no paste layer
Explanation: Treatise-based construction describes kharali applied in a round on the right face and sun-dried repeatedly to set tone (shruti). Ingredients classically include ash, geru, rice products, and related binders. It is not bow rosin or mere oil.
7The paste or packing applied on the left face to support a deep, pleasant tone is traditionally discussed as:
A.Only metal ghungroo strings
B.Only gut frets
C.Purika (left-face packing/paste preparation)
D.Only a piano felt damper
Explanation: Traditional making distinguishes right-face kharali from left-face purika packing (using rice/ash-type materials in classical descriptions). Purika supports the deeper left-face sound character.
8After face pastes are prepared, traditional Mardal finishing requires the instrument to be:
A.Left completely unbraced with loose skins floating free
B.Filled with water as a primary resonator permanently
C.Played only after removing both skins
D.Strongly braced/tied with leather strips or pata-suta and checked for shruti (tone)
Explanation: Classical process includes repeated sun-drying of pastes, assessing shruti, and strong lacing with leather strips or cloth/cord (pata-suta). Loose unbraced skins, water filling, or removing skins are not the finishing method.
9Among woods discussed in traditional grading, jackfruit wood for a Mardal shell is often classed as:
A.Adhama (inferior) relative to ideal hardwoods such as khaira
B.The single supreme wood above all others with no debate
C.Forbidden in every folk and classical context worldwide
D.Used only for flute making, never drums
Explanation: Traditional grading calls instruments from khaira and certain resonant hardwoods uttama, while jackfruit is often graded adhama (lower) for Mardal shells—even if sometimes used practically. It is not universally forbidden, nor the supreme choice.
10Why is Mardal Niraman Bidhi (construction system) included in CHSE first-year theory?
A.Because construction replaces all practical playing permanently
B.So students can describe shell wood, faces, chhappar/pudi making, pastes, and bracing as part of instrument knowledge
C.Because Mardal is classified only as an electronic synthesizer
D.Because the syllabus forbids naming any part of the drum
Explanation: Paper-I Unit IV explicitly lists construction system of Mardal and making of chhappar (pudi). Theory expects descriptive instrument knowledge alongside bols and talas—not a ban on naming parts or a claim that construction replaces performance.

About the CHSE Odisha Vocational Odissi Pakhwaj (Mardal) Practice Questions

Verified exam format metadata for Council of Higher Secondary Education, Odisha (CHSE Odisha) Higher Secondary (+2) Vocational Odissi Pakhwaj (Mardal) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.