Karnataka SSLC Question Paper 2022 Answer Key Carnatic Hindustani Music

A
CCE RF
CCE RR
— 560 003

KARNATAKA SECONDARY EDUCATION EXAMINATION BOARD, MALLESHWARAM,
BANGALORE – 560 003

/ 2022
S.S.L.C. EXAMINATION, MARCH / APRIL, 2022

MODEL ANSWERS
: 11. 04. 2022 ] : 98-E

Date : 11. 04. 2022 ] CODE NO. : 98-E
/ —
Subject : CARNATIC MUSIC / HINDUSTANI MUSIC — THEORY
( / English Medium )

& / Regular Fresh & Regular Repeater

(Candidate has to answer either Carnatic Music or Hindustani Music)
[ : 40
[ Max. Marks : 40

Qn.
Value Points Total
Nos.
( CARNATIC MUSIC )
I. Multiple Choice : 8×1=8
1.
Another name for Carnatic music is

(A) Uttaradi sangeetha (B) Sugama sangeetha

(C) Dakshinadi sangeetha (D) Laghu sangeetha
Ans. : (C) Dakshinadi sangeetha 1

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2. 'Sa' (shadja) swara is a Prakruthi swara because this swara
(A) goes through changes (B) does not go through changes
(C) is a anuswara (D) has no sthayi
Ans. : (B) does not go through changes 1

3. The number of aksharas in one avartha of Tishra jathi Triputa tala is
(A) 4 (B) 5
(C) 9 (D) 7
Ans. : (D) 7 1

4. Mayamalavagowla raga is called a sampoorna raga because the arohana
and avarohana of this raga has
(A) seven-seven swaras (B) six-six swaras
(C) five-five swaras (D) shuddha swaras
Ans. : (A) seven-seven swaras 1

5. Chaturashra jathi Ekatala has four aksharas in its one avartha,
because the laghu of this tala has
(A) three aksharas (B) four aksharas
(C) five aksharas (D) seven aksharas
Ans. : (B) four aksharas 1

6. The birth place of Basavanna is
(A) Baada (B) Bhaagamandala
(C) Baagevadi (D) Bankaapura
Ans. (C) Baagevadi 1

7. 'Tambura' is a
(A) shruthi instrument (B) rythm instrument
(C) ghana instrument (D) sushira instrument
Ans. : (A) shruthi instrument 1

8. Akkamahadevi left her husband, because her husband
(A) had broken the conditions (B) was angry on her
(C) avoided her many times (D) was lazy
Ans. : (A) had broken the conditions 1

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II. Answer the following questions in a sentence each : 8×1=8

9. What is arohana ?

Ans. :

The systematic ascending order of swaras is called arohana.
.
Ex. S R G M P D N S 1

10. Write the melakartha sankhye of the raga Mechakalyani.

Ans. :

65 1

11. By which name is Mohana raga of Carnatic music called in Hindusthani
music system ?

Ans. :

Bhoop 1

12. What is the reason for Kambhoji raga to be called a Bhashanga raga ?

Ans. :

Kambhoji raga has anya swara (foreign note). So it is called a
bhashanga raga.
Anya swara : N 3 ( Kakali nishada ) 1

13. Write any one difference between Dhruvatala and Mathyatala.

Ans. :

Dhruvatala Mathyatala

1) Talanga : 1 laghu 1 druta 1) Talanga : 1 laghu 1 druta
2 laghu 1 laghu

2) Symbol : |O|| 2) Symbol : |O|

3) It has three laghus 3) It has two laghus

( Consider any one difference ) 1

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14. What are the names of Kanakadasa's father and mother ?

Ans. :

Kanakadasa's

Father : Beere Gowda

Mother : Bacchamma 1

15. How many aksharas are there in one avartha of khanda jathi atatala ?

Ans. :

Khanda jathi atatala has fourteen aksharas in its one avartha.

its Talanga : 2 laghu + 2 druta

=5+5+2+2

= 14 1

16. What is the reason for Vasantha raga to be called a vakra raga ?

Ans. :

Vasantha raga has vakraswara sanchara in its arohana. So it is a

vakraraga.
.
arohana : S M G M D N S
.
avarohana : S N D M G R S 1

III. Answer the following questions in two to three sentences each :

7 × 2 = 14

17. Write a difference between Marga and Deshi sangeetha.

Ans. :

Marga Sangeetha Deshi Sangeetha

The Devagana which is not in The music which is being used

practice now. in their respective countries. 2

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18. Write any two differences between Carnatic music system and
Hindusthani music system.
Ans. :

Carnatic music Hindusthani music

1. There are sixteen swaras in a 1. There are twelve swaras in a
sthayi. sthayi.
2. Suladi saptatalas are used. 2. Trital, choutal, Jhaptal etc.
3. Tala is shown by hand. are used.

4. Geethe, jathiswara, varna, 3. Tala is shown by tabla sathi.
kriti, pada, javali etc. 4. Dhrupad, dhamar, tarana,
are Carnatic musical Khyal, tappa, bhajan etc. are
compositions. Hindusthani musical
5. Veena, flute, nadaswara, compositions.
mrudanga, ghata etc. are 5. Sitar, been, sarod,
Carnatic musical instruments. dilruba, sarangi, santhoor,
tabla, pakhawaz etc. are
Hindusthani musical
instruments.

Consider any two differences. 2

19. The number of aksharas in one avartha of mishra jathi jhampetala
is 10. Why ?

Ans. :

Mishra jathi Jhampetala's laghu has 7 aksharas. So this tala has
10 aksharas in one avartha.

Mishra jathi Jhampetala.

= 1 laghu + 1 anudruta + 1 druta

=7+1+2

= 10 aksharas 2

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20. What is the reason for Basavanna to recall 'Kudala Sangama Deva' at
the end of his vachanas ?

Ans. :

'Kudala Sangama Deva' was the 'deity' of Basavanna. So he recalls
'Kudala sangama deva' in his vachanas as his ankitha. 2

21. How do Rishabha swara prabhedas differ from that of Gandhara ?

Ans. :

Rishabha swara prabhedas

R1 = Shuddha rishabha

R 2 = Chatushruti rishabha

R 3 = Shatshruti rishabha

Gandhara Swara prabhedas

G1 = Shuddha gandhara

G 2 = Sadharana gandhara

G 3 = Anthara gandhara

in this way Rishabha swara prabhedas are different from that of
Gandhara. They are different in vibrations too. 2

22. Classify the following Ankithas (pennames) with their respective
composers' names :

Guruguha, Shyamakrishna, Kagineleyadi Keshava, Chennamallikarjuna.

Ans. :

Guruguha — Mutthuswamy Dixitar, Shyamakrishna — Shyamashastry
Kagineleyadi Keshava — Kanakadasa, Chennamallikarjuna —
Akkamahadevi. 2

RF/RR (A)-(200)-9056 (MA)

CCE RF & RR 7 98-E

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23. How does Oudava raga differ from Shadava raga ?

Ans. :

Oudava raga has five swaras and Shadava raga has six swaras in

arohana and avarohana. 2

IV. Answer the following questions in brief :

24. Explain the classification of musical instruments with an example each.

Ans. :

Musical instruments are mainly divided into four kinds. They are

(i) Thatha, (ii) Sushira, (iii) Avanaddha and (iv) Ghana.

1. Thatha instruments : These are the instruments which produce

musical sound by strings. They are also called string instruments.

Ex. Veena, Sitar, Guitar, Santhoor, Violin etc.

2. Sushira instruments : They are wind instruments. They produce

musical sounds by wind or air.

Ex. Harmonium, flute, clarionet, Shehnai, Nadaswara etc.

3. Avanddha instruments : Skin or leather instruments are avanaddha

instruments. They produce musical sounds by beating on them.

They are rhythm instruments.

Ex. Tabla, mrudanga, dolak, dolu, nagari etc.

4. Ghana instruments : The instruments made of clay or metal are

called ghana instruments.

Ex. morching, ghata, bronze tala etc. 6

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25. Design and write the alankara of chaturashra jathi Rupaka tala in

musical notation (sangeetha swaralipi).

Ans. :

Chaturashra jathi Rupaka tala

Talanga : 1 druta 1 laghu

Symbol : O| 4

Aksharas : 2 + 4 = 6

O |4

|| S R | S R G M ||

|| R G | R G M P ||

|| G M | G M P D ||

|| M P | M P D N ||

.
|| P D | P D N S ||

. .
|| S N | S N D P ||

|| N D | N D P M ||

|| D P | D P M G ||

|| P M | P M G R ||

|| M G | M G R S ||
4

RF/RR (A)-(200)-9056 (MA)

CCE RF & RR 9 98-E

Qn.
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( HINDUSTANI MUSIC )

I. Multiple Choice : 8×1=8

1. The systematic ascending order of swaras is

(A) Arohana (B) Avarohana

(C) Shruti (D) Naada

Ans. : (A) Arohana 1

2. The birth place of Pt. Basavaraja rajaguru is

(A) Mansoor (B) Yalivala

(C) Kurandavada (D) Purandaragada

Ans. : (B) Yalivala 1

3. Hindustani music is called 'Uttaradi sangeetha', beause this music is

developed in

(A) South India (B) North India

(C) Karnataka (D) All South part of world

Ans. : (B) North India 1

4. The art that is called as Gandharva veda is

(A) Music (B) Drama

(C) Sculpture (D) Drawing

Ans. : (A) Music 1

5. Raga Bhairavi is called as 'Sampoorna raga' because this raga is of

(A) Five-five swaras (B) Five-seven swaras

(C) Six-seven swaras (D) Seven-seven swaras

Ans. : (D) Seven-seven swaras 1

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6. The group of seven notes (swaras) is called

(A) Mukhyanga (B) Saptaka

(C) Vadi swara (D) Poorvanga swara

Ans. : (B) Saptaka 1

7. A small underline is given under Ga, Dha, Ni swaras of raga Jeevanpuri.

Because these are

(A) Shuddha swaras (B) Teevra swaras

(C) Komal swaras (D) Varja swaras

Ans. : (C) Komal swaras 1

8. Sitar is called a Thatha instrument. Because it

(A) is made of wood

(B) is a Hindustani music instrument

(C) is a metal instrument

(D) produces musical sound by its string

Ans. : (D) produces musical sound by its string 1

II. Answer the following questions in a sentence each : 8×1=8

9. How many matras of Jhaptala are there ?

Ans. :

There are Ten (10) matras (beats) in jhaptaal. 1

10. Why is Bhairav called Uttaranga Pradhana raga ?

Ans. :

The vaadi swara that is komal dhaivat (Dha) of raga Bhairav belongs to

the uttaranga swara. 1

RF/RR (A)-(200)-9056 (MA)

CCE RF & RR 11 98-E

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11. Define the meaning of Khayal.

Ans. :

The meaning of Khyal is to think, imagine and enquire. 1

12. Pt. Panchakshari Gawayi is known as 'Ubhayagayanacharya'. Why ?

Ans. :

Pandit Panchakshari Gawayi was a scholor in both Carnatic and
Hindustani music system. 1

13. Name two awards given by the Indian government to Pt. Mallikarjun
Mansoor.

Ans. :

The Indian government awarded Padmashree, Padma Bhushan, and
Padma Vibhushan to Pandit Mallikarjun Mansoor. 1

14. Durga raga is called Oudava-Oudava raga. Give reason.

Ans. :

Durga raga has five-five notes in its arohana and avarohana
respectively. 1

15. Name the vadi swara of raga Desh.

Ans. :

Vadi swara of Desh raga is shuddha rishabha. 1

16. Pt. Vishnu Digambar Paluskar became blind. Why ?

Ans. :

Pandit Vishnu Digambar Paluskar lost his eyesight due to the burst of
fire crackers. 1

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III. Answer the following questions in two to three sentences each :
7 × 2 = 14

17. Write a difference between Carnatic music and Hindustani music
system.
Ans. :
Carnatic music Hindustani music
1. There are 16 swaras in one 1. There are 12 swaras in one
sthayi. sthayi.
2. Janaka raga and janya raga 2. Thaat raga and raga ragini
are the two main raga are the raga classificattions
classifications.
3. Suladi sapta talas and 3. Trital, chowtala, jhaptala,
chapu talas are in use. Druta ektala etc. are the
talas in practice.
4. Talas are depicted with 4. Talas are depicted without
Kriyes, like laghu, druta etc. kriyas but are shown with
the help of the tabla sathi.
5. Music compositions are 5. Music compositions are
geethes, swarajatis, Kritis, dhrupad, dhamar, tarana,
keenthanas, javalis, tillanas khyal, thumri, bhajan etc.
etc.
6. Veene, violin, flute, 6. Sitar, been, sarod, sarangi,
Nagaswara, mrudanga santoor, shahanai, bansuri,
dholu, dholak, ghata are the tabla, pakhawaz are the
main musical instruments. instruments used. 2

18. Why Shahanai instrument is called a 'Sushira Vadya' ?
Ans. :
Shahanai is a sushira instrument. It produces musical sound by wind
or air. So it is called a 'Sushira vadya.' 2

19. Tuned tanpura produces Ahata naada. How ?
Ans. :
The tuned tamburi produces notes due to systematic vibrations and the
tone produced is Ahata naada. 2
RF/RR (A)-(200)-9056 (MA)

CCE RF & RR 13 98-E

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20. Why is music called as shravana sadhana vidya (Audio based
education) ?

Ans. :

The very basic skill of a music learner is listening. We understand
musical sounds of notes only through ears. The overall music learning
is mainly related to listening. So it is a Shravana Sadhana Vidya. (
Audio based branch of education ) 2

21. Classify the following instruments into Avanaddha and Ghana :

Tabla, Karataal, Jalataranga, Pakhawaz.

Ans. :

Avanaddha instruments Ghana instruments

Tabla Karataal

Pakhawaz Jalataranga 2

22. Lipi (Notation) is necessary for music. Why ?

Ans. :

Music is also a language of different kinds of raga, tala and swaras.
There are many different compositions. To recognise, read and
understand these compositions, ragas, talas and swaras we need
number, symbol and code of swaras and symbol of talas. etc. It is
necessary to retain our music to the next generation. Hence lipi
(notation) is necessary for music. 2

23. Classify the following talas into Carnatic music and Hindustani music :

Dadra, Aaditala, Bhajan theka, Triputa tala.

Ans. :

Carnatic music talas Hindustani music talas

Aadi tala Dadra

Triputa tala Bhajan theka 2

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IV. Answer the following questions in brief :

24. How do Teentala and Chowtala differ from each other ? Write the
information of these talas with their thekas.
Ans. :
Teentala is a 'band baz' tala. It is used for vilambit khyal and chhota
khayal; will be sung in Dhruta laya. In modern time this tala is used in
sugam sangeet, light music, devotional music and film music. But
chowtala is 'Khulla baz' tala. This tala is used for dhrupad singing only.
That is why this tala is called as 'dhrupad' also. From all these points
we come to know that teentala and chowtala are different from each
other.
The classical information of Teentala
Matras – 16
Division – 4, ( 4, 4, 4, 4 )
Pettu – 03 ( On the matras of 1, 5, 13 )
Husi – 01 ( On the matra of 9th )

Theka

The classical information of Chowtala
Matras – 12
Division – 06 ( 2, 2, 2, 2, 2, 2 )
Pettu – 04 ( on the matras of 1, 5, 9, 11 )
Husi – 02 ( on the matras of 3 & 7 )
Theka :

6

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25. Write the swara geethe of raga Brundavani Sarang with swaralipi
system.

Ans. :

Swarageete of Raga Brundavani Saranga

Sthayi :

Antrara :

4

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S.S.L.C. EXAMINATION, MARCH / APRIL, 2022

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MODEL ANSWERS
©®ÝíPÜ : 11. 04. 2022 ] ÓÜíPæàñÜ ÓÜíTæ : 98-K
Date : 11. 04. 2022 ] CODE NO. : 98-K
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Subject : CARNATIC MUSIC / HINDUSTANI MUSIC — THEORY
PܮܰvÜ ÊÜÞ«ÜÂÊÜá / Kannada Medium
ÍÝÇÝ A»Ü¦ì & ±Üâ®ÜÃÝÊÜ£ìñÜ ÍÝÇÝ A»Ü¦ì / Regular Fresh & Regular Repeater
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( Candidate has to answer either Carnatic Music or Hindustani Music )
[ WÜÄÐÜu AíPÜWÜÙÜá : 40
[ Max. Marks : 40

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II. 8×1=8

9. BÃæãàÖÜ|Êæí¨ÜÃæà®Üá

ÓÜÌÃÜWÜÙÜ PÜÅÊÜáÊÝ¨Ü HÃÜáËPæ¿á®Üá° BÃæãàÖÜ| G®Üá°ÊÜÃÜá.
.
E¨Ý. ÓÜ Ä WÜ ÊÜá ±Ü ¨Ü ¯ ÓÜ 1

10. ÊæáàaÜPÜÇÝÂ~ ÃÝWÜ¨Ü ÊæáàÙÜPÜñÜì ÓÜíTæ¿á¬Üá® ŸÃæÀáÄ.

65 1

11. PܬÝìoPÜ ÓÜíXàñÜ¨Ü ÊæãàÖÜ¬Ü ÃÝWÜÊܬÜá® ×í¨ÜãÓݧ­ ¯Ü¨Üœ£¿áÈÉ ¿ÞÊÜ ÖæÓÜÄ­í¨Ü
PÜÃæ¿ááÊÜÃÜá

»Üã±… 1

12. PÝí»æãài ÃÝWÜÊÜ®Üá° »ÝÐÝíWÜ ÃÝWÜÊæí¨Üá PÜÃæ¿áÆá PÝÃÜ|Êæà®Üá

PÝí»æãài ÃÝWÜÊÜâ A®ÜÂÓÜÌÃÜ Öæãí©ÃÜáÊÜâ¨ÜÄí¨Ü C¨Ü®Üá° »ÝÐÝíWÜ ÃÝWÜÊæ®Üá°ÊÜÃÜá.
A®ÜÂÓÜÌÃÜ & ¯ 3 PÝPÜÈ ¯ÐÝ¨Ü 1

RF/RR(A)-(200)-9055 (MA) [ Turn over

98-K 4 CCE RF & RR

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
13. «ÜáÅÊÜñÝÙÜ ÊÜáñÜᤠÊÜásÜÂñÝÙÜWÜÙÜ ¬ÜvÜáË¬Ü ¿ÞÊÜâ¨Ý¨ÜÃÜã Jí¨Üá ÊÜÂñÝÂÓÜÊܬÜá® ŸÃæÀáÄ.

«ÜáÅÊÜñÝÙÜ ÊÜásÜÂñÝÙÜ
1) ñÝÙÝíWÜ 1 ÆZá 1 ¨ÜáÅñÜ 2 ÆZá1) ñÝÙÝíWÜ 1 ÆZá 1 ¨ÜáÅñÜ 1 ÆZá

2) bÖæ° |O|| 2) bÖæ° |O|
3) ÊÜáãÃÜá ÆZáWÜÙÜ®Üá° Öæãí©¨æ 3) GÃÜvÜá ÆZáWÜÙÜ®Üá° Öæãí©¨æ
(¿ÞÊÜâ¨Ý¨ÜÃÜã Jí¨Üá ÊÜÂñÝÂÓÜÊÜ®Üá° ±ÜÄWÜ~ÓÜáÊÜâ¨Üá) 1
14. PÜ®ÜPܨÝÓÜÃÜ ñÜí¨æ&ñÝÀá¿áÃÜ ÖæÓÜÃæà®Üá

PÜ®ÜPܨÝÓÜÃÜ ñÜí¨æ ¹àÃæàWèvÜ
ñÝÀá ŸaÜcÊÜá¾ 1
15. SívÜhÝ£ AoñÝÙÜ¨Ü Jí¨Üá BÊÜñÜì¨ÜÈÉ GÐÜár AûÜÃÜWÜÚÊæ

SívÜhÝ£ AoñÝÙÜ¨Ü Jí¨Üá BÊÜñÜì¨ÜÈÉ ÖÜ©®ÝÆáR AûÜÃÜWÜÚÊæ.
ñÝÙÝíWÜ 2 ÆZá 2 ¨ÜáÅñÜ
5 + 5 + 2 + 2 = 14 1
16. ÊÜÓÜíñÜÃÝWÜÊÜ®Üá° ÊÜPÜÅÃÝWÜÊæí¨Üá PÜÃæ¿áÆá PÝÃÜ|Êæà®Üá

ÊÜÓÜíñÜÃÝWÜÊÜâ BÃæãàÖÜ|¨ÜÈÉ ÊÜPÜÅÓÜíaÝÃÜÊÜ®Üá° Öæãí©ÃÜáÊÜâ¨ÜÄí¨Ü B ÃÝWÜÊÜ®Üá°
ÊÜPÜÅÃÝWÜÊæ®Üá°ÊÜÃÜá.
.
BÃæãàÖÜ| ÓÜ ÊÜá WÜ ÊÜá ¨Ü ¯ ÓÜ 1
III. 7 × 2 = 14
17. ÊÜÞWÜì ÖÝWÜã ¨æàÎà ÓÜíXàñÜWÜÙÜ ¬ÜvÜáË¬Ü Jí¨Üá ÊÜÂñÝÂÓÜÊܬÜá® ŸÃæÀáÄ.

ÊÜÞWÜì ÓÜíXàñÜ ¨æàÎà ÓÜíXàñÜ
Cí¨Üá ŸÙÜPæ¿áÈÉÆÉ¨Ü ¨æàÊÜWÝ®ÜÊæà B¿Þ ¨æàÍÜWÜÙÜÈÉ ÊÝwPæ¿áÈÉÃÜáÊÜ
ÊÜÞWÜì ÓÜíXàñÜ. ÓÜíXàñÜÊæà ¨æàÎà ÓÜíXàñÜ. 2

RF/RR(A)-(200)-9055 (MA)

CCE RF & RR 5 98-K

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

18. PܬÝìoPÜ ÓÜíXàñÜ ¯Ü¨Üœ£ ÖÝWÜã ×í¨ÜãÓݧ­ ÓÜíXàñÜ ¯Ü¨Üœ£WÜÙÜ ¬ÜvÜáË¬Ü ¿ÞÊÜâ¨Ý¨ÜÃÜã
GÃÜvÜá ÊÜÂñÝÂÓÜWÜÙܬÜá® ŸÃæÀáÄ.

PÜ®ÝìoPÜ ÓÜíXàñÜ ×í¨ÜãÓݧ¯ ÓÜíXàñÜ
1. Jí¨Üá ÓݧÀá¿áÈÉ ÖÜ©®ÝÃÜá 1. Jí¨Üá ÓݧÀá¿áÈÉ ÖÜ®æ°ÃÜvÜá
ÓÜÌÃÜWÜÚÊæ. ÓÜÌÃÜWÜÚÊæ.

2. ÓÜáÙÝ© ÓܱܤñÝÙÜWÜÙÜá ÃÜã{¿áÈÉÊæ. 2. £ÅñÝÇ…, aèñÝÇ…, ÃÜká±…ñÝÇ…
ÊÜááíñÝ¨Ü ñÝÙÜWÜÙÜá ŸÙÜPæ¿áÈÉÊæ.
3. ñÝÙÜWÜÙÜ®Üá° QÅÁá¿á ÊÜáãÆPÜ 3. ñÝÙÜWÜÙÜ®Üá° ñÜŸÆ¨Ü ÊÜáãÆPÜ
ñæãàÄÓÜÇÝWÜáñܤ¨æ. ñæãàÄÓÜÇÝWÜáñܤ¨æ.
4. Xàñæ, g£ÓÜÌÃÜ, ÊÜ|ì, PÜê£, hÝÊÜÚ 4. ¨Üáűܨ…, «ÜÊÜÞÃ…, ñÜÃÝ®Ü,
ÊÜááíñÝ¨Ü ÃÜaÜ®æWÜÚÊæ. TÝÂÇ…, o±Ü³, »Üg®… ÊÜááíñݨÜ
ÃÜaÜ®æWÜÚÊæ.
5. ËàOæ, PæãÙÜÆá, ®Ý¨ÜÓÜÌÃÜ, ÊÜáê¨ÜíWÜ, 5. ÔñÝÃ…, ¹®…, ÓÜÃæãਅ ©ÆãÅŸ,
Zo ÊÜááíñÝ¨Ü ÊݨÜÂWÜÙÜ ŸÙÜPæÀá¨æ. ÓÝÃÜíX, ÓÜíñÜãÃ… ñÜŸÆ, ±ÜPÜÊÝh…
ÊÜááíñÝ¨Ü ÊݨÜÂWÜÙÜ ŸÙÜPæÀá¨æ.
¿ÞÊÜâ¨Ý¨ÜÃÜã GÃÜvÜá ÊÜÂñÝÂÓÜWÜÙÜ®Üá° ±ÜÄWÜ~ÓÜáÊÜâ¨Üá 2
19. ËáÍÜÅhÝ£ ÃÜkáí±æñÝÙÜ¨Ü Jí¨Üá BÊÜñÜì¨ÜÈÉ®Ü AûÜÃÜWÜÙÜ ÓÜíTæ 10. HPæ

ËáÍÜÅhÝ£ ÃÜkáí±æñÝÙÜ¨Ü Jí¨Üá BÊÜñÜì¨Ü AûÜÃÜWÜÙÜ ÓÜíTæ 10. HPæí¨ÜÃæ B ñÝÙÜ¨Ü ÆZáÊÜâ
ËáÍÜÅhÝ£¿á¨ÝªXÃÜáÊÜâ¨ÜÄí¨Ü 7 AûÜÃÜWÜÙÜ®Üá° Öæãí©¨æ.
ËáÍÜÅhÝ£ ÃÜkáí±æñÝÙÜ
= 1 ÆZá + 1 A®Üá¨ÜáÅñÜ + 1 ¨ÜáÅñÜ

= 7 + 1 + 2

= 10 2

RF/RR(A)-(200)-9055 (MA) [ Turn over

98-K 6 CCE RF & RR

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

20. ŸÓÜÊÜ|¡¬ÜÊÜÃÜá ñÜÊÜá¾ ÊÜaÜ®ÜWÜÙÜ Pæã®æ¿áÈÉ PÜãvÜÆ ÓÜíWÜÊÜá¨æàÊÜ ®Ü®Üá° ÓܾÄÓÜÆá
PÝÃÜ|Êæà®Üá

ŸÓÜÊÜ|¡®ÜÊÜÃÜ BÃݫܨæçÊÜ PÜãvÜÆÓÜíWÜÊÜá¨æàÊÜ . B¨ÜªÄí¨Ü AÊÜÃÜá ñÜÊÜá¾ ÊÜaÜ®ÜWÜÙÜ
Pæã®æ¿áÈÉ PÜãvÜÆÓÜíWÜÊÜá¨æàÊÜ ®Ü®Üá° ®æ®æ¿ááñݤÃæ. 2
21. ÄÐÜ»Ü ÓÜÌÃÜ ±ÜÅ»æà¨ÜWÜÙÜá WÝí«ÝÃÜ ÓÜÌÃÜ ±ÜÅ»æà¨ÜWÜÚXíñÜ ÖæàWæ ¼®Ü°ÊÝXÊæ

ÄÐÜ»Ü ÓÜÌÃÜ ±ÜÅ»æà¨ÜWÜÙÜá
Ä 1 = ÍÜá¨Üœ ÄÐÜ»Ü
Ä 2 = aÜñÜáÍÜáÅ£ ÄÐÜ»Ü
Ä 3 = ÐÜp…ÍÜáÅ£ ÄÐÜ»Ü
WÝí«ÝÃÜ ÓÜÌÃÜ ±ÜÅ»æà¨ÜWÜÙÜá
WÜ 1 = ÍÜá¨Üœ WÝí«ÝÃÜ
WÜ 2 = ÓÝ«ÝÃÜ| WÝí«ÝÃÜ
WÜ 3 = AíñÜÃÜ WÝí«ÝÃÜ
×àWæ ±ÜÅ»æà¨ÜWÜÙÜá ˼®Ü°ÊÝXÃÜáÊÜâ¨ÜÄí¨Ü ÄÐÜ»Ü ÓÜÌÃÜ ±ÜÅ»æà¨ÜWÜÙÜá WÝí«ÝÃÜ ÓÜÌÃÜ
±ÜÅ»æà¨ÜWÜÚXíñÜ ¼®Ü°ÊÝXÊæ. PÜí±Ü®ÝíPÜWÜÙÜÆãÉ ¼®Ü°ñæ C¨æ. 2

22. D PæÙÜX®Ü AíQñÜWÜÙ¬Ü Üá® B¿Þ ÃÜaܬÜPÝÃÜÃÜ ÖæÓÜÃÜáWÜÙã
æ í©Wæ ËíWÜwÔ ŸÃæÀáÄ
WÜáÃÜáWÜáÖÜ, ÍÝÂÊÜáPÜêÐÜ¡, PÝX®æÇæ¿Þ©PæàÍÜÊÜ, aæ®Ü°ÊÜáÈÉPÝgáì®Ü.

WÜáÃÜáWÜáÖÜ — ÊÜááñÜá¤ÓÝÌËá ©àüñÜÃÜá
ÍÝÂÊÜáPÜêÐÜ¡ — ÍÝÂÊÜÞÍÝÔŒWÜÙÜá
PÝX®æÇæ¿Þ©PæàÍÜÊÜ — PÜ®ÜPܨÝÓÜÃÜá
aæ®Ü°ÊÜáÈÉPÝgáì®Ü — APÜRÊáÜ ÖݨæàË 2

RF/RR(A)-(200)-9055 (MA)

CCE RF & RR 7 98-K

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

23. LvÜÊÜ ÃÝWÜÊÜâ ÐÝvÜÊÜ ÃÝWÜQRíñÜ ÖæàWæ ¼®Ü°ÊÝX¨æ

LvÜÊÜ ÃÝWÜ¨Ü BÃæãàÖÜ| AÊÜÃæãàÖÜ|WÜÙÜá I¨æç¨Üá ÓÜÌÃÜWÜÙÜ®Üá° Öæãí©Êæ.
ÐÝvÜÊÜ ÃÝWÜ¨Ü BÃæãàÖÜ| AÊÜÃæãàÖÜ|WÜÙÜá BÃÜá BÃÜá ÓÜÌÃÜWÜÙÜ®Üá° Öæãí©Êæ.
×àWÝX LvÜÊÜ ÃÝWÜÊÜâ ÐÝvÜÊÜ ÃÝWÜQRíñÜ ¼®Ü°ÊÝX¨æ. 2

IV.

24. ÓÜíXàñÜ ÊݨÜÂWÜÙÜ ÊÜXàìPÜÃÜ|ÊÜ®Üá° Jí¨æãí¨Üá E¨ÝÖÜÃÜOæÁãí©Wæ ËÊÜÄÔ.

ÓÜíXàñÜ ÊݨÜÂWÜÙÜ®Üá° ŸÖÜáÊÜááSÂÊÝX ®ÝÆáR Ë»ÝWÜWÜÙÝX ÊÜÞvÜÇÝX¨æ.
AÊÜâWÜÙæí¨ÜÃæ, ñÜñÜ, ÓÜáÑÃÜ, AÊܮܨܜ ÊÜáñÜᤠZ®Ü
1. ñÜñÜ ÊݨÜÂWÜÙÜá ñÜí£Àáí¨Ü PÜãwÃÜáÊÜ, ñÜí£Àáí¨Ü ®Ý¨æãàñܳ£¤ ÊÜÞvÜáÊÜ
ÊݨÜÂWÜÙÜ®Üá° ñÜñÜ ÊݨÜÂWÜÙæ®Üá°ÊÜÃÜá.
E¨Ý. : ²qàÆá, ËàOæ, XpÝÃ…, ÔñÝÃ… ÊÜááíñݨÜÊÜâ.
2. ÓÜáÑÃÜ ÊݨÜÂWÜÙÜá WÝÚÀáí¨Ü ®Ý¨æãàñܳ£¤ ÊÜÞvÜáÊÜ ÊݨÜÂWÜÙÜ®Üá° ÓÜáÑÃÜ
ÊݨÜÂWÜÙ®æ Üá°ÊÜÃÜá.
E¨Ý. : ÖÝÊæãà쯿áí, PæãÙÜÆá, ®Ý¨ÜÓÜÌÃÜ, PÝÉÄÁãà®æp… ÊÜááíñݨÜÊÜâ.
3. AÊܮܨܜ ÊݨÜÂWÜÙÜá aÜÊÜáì©í¨Ü GÙæ¨Üá PÜqr ÊÜÞwÃÜáÊÜ ÊݨÜÂWÜÙÜá AÊܮܨܜ
ÊݨÜÂWÜÙÜá CÊÜâ ŸÖÜáñæàPÜ ñÝÙÜÊݨÜÂWÜÙÝXÊæ.
E¨Ý. : ñÜŸÆ, ÊÜáê¨ÜíWÜ, væãàÆP…, væãàÆá, ñÜÊÜápæ ÊÜááíñݨÜÊÜâ.
4. Z®Ü ÊݨÜÂWÜÙÜá ÇæãàÖÜ A¥ÜÊÝ ÊÜá~¡¯í¨Ü ñÜ¿ÞÄst ÊݨÜÂWÜÙÜ®Üá°
Z®ÜÊݨÜÂWÜÙíæ ¨Üá PÜÃæ¿ááÊÜÃÜá. CÊÜâ ŸÖÜáñæàPÜ ñÝÙÜÊݨÜÂWÜÙÝXÊæ.
E¨Ý. : Zo, PÜíb®ÜñÝÙÜ, ÊæãàbìíW… ÊÜááíñݨÜÊÜâ. 6

RF/RR(A)-(200)-9055 (MA) [ Turn over

98-K 8 CCE RF & RR

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

25 aÜñÜáÃÜÍÜÅhÝ£ ÃÜã¯ÜPÜñÝÙÜ¨Ü AÆíPÝÃÜÊܬÜá® ÓÜÌÃÜÈ°Áãí©Wæ ˬÝÂÓÜWæãÚÔ ŸÃæÀáÄ.

1 ¨ÜáÅ 1

O |4
2+4=6
O |
|| | ||
|| | ||

|| | ||

|| | ||
.
|| | ||
. .
|| | ||

|| | ||

|| | ||

|| | ||

|| | || 4

×í¨ÜãÓݧ¯ ÓÜíXàñÜ
I. 1 8×1=8

1. ÓÜÌÃÜWÜÙÜ HÄPæ PÜÅÊÜáÊæà
(A) BÃæãàÖÜ| (B) AÊÜÃæãàÖÜ|
(C) ÍÜê£ (D) ®Ý¨Ü
(A) BÃæãàÖÜ|
1

RF/RR(A)-(200)-9055 (MA)

CCE RF & RR 9 98-K

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

2. ¯Üí. ŸÓÜÊÜÃÝg ÃÝgWÜáÃÜáÃÜÊÜÃÜ g¬Ü¾ÓܧÙÜ
(A) ÊÜá®ÜÓÜãÃÜá (B) ¿áÈÊÝÙÜ
(C) PÜáÃÜí¨ÜÊÝvÜ (D) ±ÜâÃÜí¨ÜÃÜWÜvÜ
(B) ¿áÈÊÝÙÜ 1

3. ×í¨ÜãÓݧ¯ ÓÜíXàñÜÊÜ®Üá° EñܤÃÝ© ÓÜíXàñÜ Gí¨Üá PÜÃæ¿ááÊÜÃÜá. HPæí¨ÜÃæ, D ÓÜíXàñÜ
±ÜÅPÝÃÜÊÜâ
(A) ¨Üü| »ÝÃÜñܨÜÈÉ ¸æÙæ¨Üá ŸíñÜá
(B) EñܤÃÜ »ÝÃÜñܨÜÈÉ ¸æÙæ¨Üá ŸíñÜá
(C) PܬÝìoPܨÜÈÉ ¸æÙæ¨Üá ŸíñÜá
(D) ¯ÜůÜíaÜ¨Ü ¨Üü| »ÝWܨÜÈÉ ¸æÙæ¨Üá ŸíñÜá
(B) EñܤÃÜ »ÝÃÜñܨÜÈÉ ¸æÙæ¨Üá ŸíñÜá 1

4. WÜí«ÜÊÜì Êæà¨Ü Gí¨Üá PÜÃæ¿áƳvÜáÊÜ PÜÇæ
(A) ÓÜíXàñÜ (B) ®ÝoPÜ
(C) ÊÝÓÜá¤ÎƳ (D) bñÜÅPÜÇæ
(A) ÓÜíXàñÜ 1

5. »æçÃÜË ÃÝWÜÊÜ®Üá° ÓÜí±Üä|ìÃÝWÜ Gí¨Üá PÜÃæ¿ááÊÜÃÜá. HPæí¨ÜÃæ, D ÃÝWܨÜÈÉ
(A) I¨Üá&I¨Üá ÓÜÌÃÜWÜÚÊæ (B) I¨Üá&HÙÜá ÓÜÌÃÜWÜÚÊæ
(C) BÃÜá&HÙÜá ÓÜÌÃÜWÜÚÊæ (D) HÙÜá&HÙÜá ÓÜÌÃÜWÜÚÊæ
(D) HÙÜá&HÙÜá ÓÜÌÃÜWÜÚÊæ 1

6. HÙÜá ÓÜÌÃÜWÜÙÜ ÓÜÊÜáãÖÜÊæà
(A) ÊÜááTÝÂíWÜ (B) ÓܱܤPÜ
(C) ÊÝ©ÓÜÌÃÜ (D) ±ÜäÊÝìíWÜ ÓÜÌÃÜ
(B) ÓܱܤPÜ 1

RF/RR(A)-(200)-9055 (MA) [ Turn over

98-K 10 CCE RF & RR

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

7. iàÊܬ…¯ÜâÄ ÃÝWÜ¨Ü WÜ, «Ü, ­ ÓÜÌÃÜWÜÙÜ PæÙÜWæ AvÜxWæÃæ PæãvÜÇÝWÜáÊÜâ¨Üá. HPæí¨ÜÃæ, AÊÜâ
(A) ÍÜá¨Üœ ÓÜÌÃÜWÜÙÜá (B) £àÊÜÅ ÓÜÌÃÜWÜÙÜá
(C) PæãàÊÜáÆ ÓÜÌÃÜWÜÙÜá (D) ÊÜgÂì ÓÜÌÃÜWÜÙÜá
(C) PæãàÊÜáÆ ÓÜÌÃÜWÜÙÜá 1

8. ÔñÝÃ… A®Üá° ñÜñ… ÊݨÜ Gí¨Üá PÜÃæ¿ááÊÜÃÜá. HPæí¨ÜÃæ, A¨Üá
(A) ÊÜáÃÜ©í¨Ü ÊÜÞvÜƳqr¨æ
(B) ×í¨ÜãÓݧ¯ ÓÜíXàñÜ ÊݨÜÂÊÝX¨æ
(C) ÇæãàÖÜ ÊݨÜÂÊÝX¨æ
(D) ñÜí£WÜÚí¨Ü ®Ý¨æãàñܳ£¤ ÊÜÞvÜáñܤ¨æ
(D) ñÜí£WÜÚí¨Ü ®Ý¨æãàñܳ£¤ ÊÜÞvÜáñܤ¨æ 1

II. 8×1=8

9. ÃÜká±Ý¤ÙܨÜÈÉ GÐÜár ÊÜÞñæÅWÜÚÊæ

ÃÜká±Ý¤ÙܨÜÈÉ ÖÜñÜᤠÊÜÞñæÅWÜÚÊæ. 1

10. »æçÃÜÊ… ÃÝWÜÊܬÜá® EñܤÃÝíWÜ ±ÜÅ«Ý®ÜÃÝWÜ Gí¨Üá PÜÃæ¿ááÊÜÃÜá. HPæ

»æçÃÜÊ… ÃÝWÜ¨Ü ÊÝ©ÓÜÌÃÜ PæãàÊÜáÆ ¨æçÊÜñÜÊÜâ EñܤÃÝíWÜ¨Ü ÓÜÌÃÜÊÝX¨æ. 1

11. S¿ÞÇ… A¥ÜìÊܬÜá® ÊÝÂTÝ­Ô.

S¿ÞÇ… ÁãàbÓÜá, PÜȱÓáÜ , ËaÝÄÓÜá GíŸ A¥ÜìÊܬÜá® PæãvÜáñܤ¨æ. 1

RF/RR(A)-(200)-9055 (MA)

CCE RF & RR 11 98-K

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

12. ¯Üíwñ… ±ÜíaÝûÜÄ WÜÊÝÀáWÜÙÜ®Üá° E»Ü¿á WÝ¿á®ÝaÝ¿áì Gí¨Üá PÜÃæ¿áÆá
PÝÃÜ|Êæà®Üá

¯Üíwñ… ¯ÜíaÝûÜÄ WÜÊÝÀáWÜÙÜá PܬÝìoPÜ ÓÜíXàñÜ ÊÜáñÜᤠ×í¨ÜãÓݧ¯ ÓÜíXàñÜ¨Ü GÃÜvÜá
¯Ü¨Üœ£WÜÙÜÈÉ ¯ÝíwñÜ ¯Üv橨ܪÃÜá. 1

13. ¯Üíwñ… ÊÜáÈÉPÝgáì®Ü ÊÜá®ÜÓÜãÃÜÄWæ »ÝÃÜñÜ ÓÜPÝìÃÜ ¯àw¨Ü GÃÜvÜá ±ÜÅÍÜÔ¤WÜÙÜ®Üá° ÖæÓÜÄÔ.

¯Üíwñ… ÊÜáÈÉPÝgáì¬Ü ÊÜá¬ÜÓÜãÃÜÄWæ »ÝÃÜñÜ ÓÜPÝìÃÜÊÜ⠯ܨܾÎÅà, ¯Ü¨Ü¾»ÜãÐÜ| ÊÜáñÜá¤
±Ü¨Ü¾Ë»ÜãÐÜ| ±ÜÅÍÜÔ¤WÜÙÜ®Üá° ¯àwñÜá. 1

14. ¨ÜáWÝì ÃÝWÜ樆 Üá° LvÜÊÜ&LvÜÊÜ ÃÝWÜ Gí¨Üá PÜÃæ¿áÆá PÝÃÜ|Êæà®Üá

¨ÜáWÝì ÃÝWÜ¨Ü BÃæãàÖÜ| ÊÜáñÜᤠAÊÜÃæãàÖÜ|¨ÜÈÉ I¨æç¨Üá ÓÜÌÃÜWÜÚÊæ. 1

15. ¨æàÓ… ÃÝWÜ¨Ü ÊÝ© ÓÜÌÃÜÊܬÜá® ÖæÓÜÄÔ.

¨æàÓ… ÃÝWÜ¨Ü ÊÝ© ÓÜÌÃÜÊÜâ ÍÜá¨Üœ ÄÐÜ»ÜÊÝX¨æ. 1

16. ±Üíwñ… ËÐÜá¡ ©WÜíŸÃÜ ¶ÜÆáÓÜRÃ…ÃÜÊÃÜ Üá PÜáÃÜávÜÃÝWÜÆá PÝÃÜ|Êæà¬Üá

±Üíwñ… ËÐÜá¡ ©WÜíŸÃÜ ¶ÜÆáÓÜRÃ…ÃÜÊÜÃÜá ¯ÜpÝQ¿á ÔwÊÜᩪ¬Ü Óæã#ào©í¨Ü
¨ÜêÑr×à®ÜÃݨÜÃÜá. 1

III. 7 × 2 = 14

17. PܬÝìoPÜ ÓÜíXàñÜ ÊÜáñÜᤠ×í¨ÜãÓݧ­ ÓÜíXàñܨÜÈÉ PÜívÜáŸÃÜáÊÜ GÃÜvÜá ÊÜÂñÝÂÓÜWÜÙܬÜá®
ŸÃæÀáÄ.

RF/RR(A)-(200)-9055 (MA) [ Turn over

98-K 12 CCE RF & RR

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

PÜ®ÝìoPÜ ÓÜíXàñÜ ×í¨ÜãÓݧ¯ ÓÜíXàñÜ
1. Jí¨Üá ÓܱܤPܨÜÈÉ 16 ÓÜÌÃÜWÜÚÊæ. 1. Jí¨Üá ÓܱܤPܨÜÈÉ 12 ÓÜÌÃÜWÜÚÊæ.
2. ÃÝWÜ Ë»Üg®æ¿áÈÉ g®ÜPÜ ÊÜáñÜᤠ2. ÃÝWÜ Ë»Üg®æ¿áÈÉ ¥Ýp… ÊÜáñÜá¤
g®ÜÂÃÝWÜ ±Ü¨Üœ£¿á®Üá° Öæãí©¨æ. ÃÝWÜÃÝX~ ±Ü¨Üœ£¿á®Üá° Öæãí©¨æ.
3. ÓÜáÙÝ© ÓܱܤñÝÙÜWÜÙÜá ÊÜáñÜᤠdݱÜâ 3. £ÅñÝÇ…, aèñÝÇ…, ÃÜká±Ý¤Ç…,
ñÝÙÜWÜÙÜá ÃÜã{¿áÈɨæ. ¨Ý¨ÜÃÝ, «Üêñ… HPÜñÝÇ… ÊÜááíñݨÜÊÜâ
ÃÜã{¿áÈɨæ.
4. ñÝÙÜWÜÙÜ®Üá° QÅÁá¿á ÊÜáãÆPÜ G~Ô 4. ñÝÙÜ¨Ü G~Pæ¿á®Üá° ñÜŸÇÝ Óݦ¿á
ñæãàÄÓÜÇÝWÜáñܤ¨æ. ÊÜáãÆPÜ ¯ÊÜì×ÓÜÇÝWÜáñܤ¨.æ
5. ÓÜíXàñÜ ÃÜaÜ®æWÜÙÜÈÉ Xàñæ, PÜê£ g£ÓÜÌÃÜ, 5. ÓÜíXàñÜ ÃÜaÜ®æWÜÙÜÈÉ «Üáűܨ…
QàñÜì®æ, hÝÊÜÚ, £ÇÝÉ®Ü ÊÜááíñÝ¨Ü «ÜÊÜÞÃ…, ñÜÃÝ®Ý, TÝÂÇ…, sÜáËáÅ
ÃÜaÜ®æWÜÚÊæ. »Üg®… ÊÜááíñÝ¨Ü ÃÜaÜ®æWÜÚÊæ.
6. ËàOæ, ²qàÆá, PæãÙÜÆá, ®ÝWÜÓÜÌÃÜ 6. ÔñÝÃ…, ¹à®…, ÓÜÃæãਅ, ÓÝÃÜíX,
ÊÜáê¨ÜíWÜ, væãàÆá, væãàÆP…, Zo ÓÜíñÜãÃ…, ÍÜÖܮݿå…, ¸Ý®ÜÕáÄ,
ÊÜááíñÝ¨Ü ÓÜíXàñÜ ÊݨÜÂWÜÙÜá ñÜŸÇÝ, ±ÜSÊÝh… ÊÜááíñÝ¨Ü ÓÜíXàñÜ
ÃÜã{¿áÈÉÊæ. ÊݨÜÂWÜÙÜá ŸÙÜPæ¿áÈÉÊæ. 2

18. ÍÜÖÜ¬Ý¿å… ÊݨÜÂÊÜ®Üá° ÓÜáÑÃÜÊݨÜ Gí¨Üá PÜÃæ¿ááÊÜÃÜá. HPæ

ÍÜÖÜ¬Ý¿å… Jí¨Üá ÓÜáÑÃÜ ÊݨÜÂ. D ÊݨܨÜÈÉ WÝÚ¿á ÓÜÖÝ¿á©í¨Ü
ÓÜíXàñæãà±ÜÁãàX ÓÜÌÃæãàñܳ£¤¿á®Üá°íoá ÊÜÞvÜÇÝWÜáñܤ¨æ. B¨ÜªÄí¨ÜÇæà D ÊݨÜÂÊÜ®Üá°
ÓÜáÑÃÜ ÊݨÜ Gí¨Üá PÜÃæ¿ááÊÜÃÜá. 2
19. ÍÜê£WæãÚst ñÜíŸãÄ¿áá BÖÜñܬݨÜÊܬÜá® EíoáÊÜÞvÜáñܤ¨æ. ÖæàWæ

ÍÜê£WæãÚst ñÜíŸãÄ¿áÈÉ ÓÜÌÃÜWÜÙÜá ¯¿áËáñÜ PÜí±Ü®ÜWÜÚí¨Ü EípÝWÜáñܤ¨æ. A¨Üá BÖÜñÜ
®Ý¨ÜÊæà BXÃÜáñܤ¨æ. 2
20. ÓÜíXàñÜÊÜ®Üá° ÍÜÅÊÜ| ÓÝ«Ü®Ü Ë¨æ Gí¨Üá PÜÃæ¿ááÊÜÃÜá. HPæ

ÓÜíXàñÜ¨Ü PÜÈPݦìWÜÙÜ ±ÝÅÃÜí¼PÜ PèÍÜÆÊæà BÈÓÜáËPæ. PÜÈPݦì ÓÜíXàñÜ¨Ü ÓÜÌÃÜWÜÙÜ®Üá°

RF/RR(A)-(200)-9055 (MA)

CCE RF & RR 13 98-K

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
PæàÊÜÆ ÍÜÅÊÜOæàí©Å¿áWÜÚí¨Ü ÊÜÞñÜÅ WÜÅ×ÓÜŸÖÜá¨Üá. ÓÜíXàñܨÜÈÉÃÜáÊÜ ÓÜãûÜ$¾ ÓÜÌÃÜWÜÙÜ
WÜÅ×Pæ¿áá PÜãvÜ BÈÓÜáËPæWæ ÓÜíŸí˜ÔÃÜáÊÜâ¨ÜÄí¨Ü ÓÜíXàñÜÊÜ®Üá° ÍÜÅÊÜ| ÓÝ«Ü®Ü Ë¨æÂ
Gí¨Üá PÜÃæ¿ááÊÜÃÜá. 2

21. D PæÙÜX¬Ü ÊݨÜÂWÜÙ¬Ü Üá® AÊܬܨܜ ÊÜáñÜᤠZ¬ÜÊݨÜÂWÜÙÝX ÊÜXàìPÜÃÜ| ÊÜÞw ŸÃæÀáÄ
ñÜŸÆ, PÜÃÜñÝÙÜ, gÆñÜÃÜíWÜ, ¶ÜPÜÊÝh….

AÊܮܨܜ ÊݨÜÂWÜÙÜá Z®Ü ÊݨÜÂWÜÙÜá
ñÜŸÆ PÜÃÜñÝÙÜ
±ÜSÊÝh… gÆñÜÃÜíW… 2

22. ÓÜíXàñÜPæR Ȳ¿á AWÜñÜÂñæ C¨æ. HPæ

ÓÜíXàñÜÊÜâ PÜãvÜ Jí¨Üá »ÝÐæ. CÈÉ ¸æàÃæ ¸æàÃæ ÓÜÌÃÜ, ÃÝWÜ ÊÜáñÜᤠñÝÙÜWÜÚÊæ. CÊÜâWÜÙÜ®Üá°
WÜáÃÜá£ÓܸæàPݨÜÃæ ÓÜÌÃÜ ÓÜíTæÂ, ÓÜÌÃÜ bÖæ°, ÓÜÌÃÜ ÓÜíPæàñÜ, ñÝÙÜ ÊÜáñÜᤠñÝÙÜ bÖæ°WÜÙÜ AWÜñÜÂñæ
C¨æ. ÖÝWæÁáà ÊÜááí©®Ü ²àÚWæWæ ÓÜíXàñÜÊÜ®Üá° EÚÔvܸæàPݨÜÃæ ÓÜíXàñÜPæR Ȳ¿á
AWÜñÜÂñæ C¨æ. 2

23. D PæÙXÜ ®Ü ñÝÙÜWÜÙÜ®Üá° PÜ®ÝìoPÜ ÓÜíXàñÜ ÊÜáñÜᤠ×í¨ÜãÓݧ¯ ÓÜíXàñÜ ñÝÙÜWÜÙÝX ÊÜXàìPÜÄÔ
ŸÃæÀáÄ.
¨Ý¨ÜÃÝ, B©ñÝÙÜ, »Üg®… sæàPÝ, £Å±ÜâoñÝÙÜ.

PÜ®ÝìoPÜ ÓÜíXàñÜ ñÝÙÜWÜÙÜá ×í¨ÜãÓݧ¯ ÓÜíXàñÜ ñÝÙÜWÜÙÜá
B©ñÝÙÜ ¨Ý¨ÜÃÝ
£Å±ÜâoñÝÙÜ »Üg®… sæàPÝ 2
IV.

24. £à¬…ñÝÙÜ ÊÜáñÜᤠaèñÝÙÜ Jí¨ÜPæãRí¨Üá ¼¬Ü®. ÖæàWæ ËÊÜÄÔ. D GÃÜvÜá ñÝÙÜWÜÙÜ
ÊÜÞ×£¿á¬Üá® sæàPݨæãí©Wæ ŸÃæÀáÄ.

RF/RR(A)-(200)-9055 (MA) [ Turn over

98-K 14 CCE RF & RR

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ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

£à®… ñÝÙÜÊÜâ Ÿí¨… ¸Ýh…®ÜÈÉ ®ÜáwÓÜáÊÜ ñÝÙÜÊÝX¨æ. ËÆí¹ñ… £à®…ñÝÙܨÜÈÉ ËÆí¹ñÜ
TÝÂÆ®Üã°, «Üêñ… £à®… ñÝÙܨÜÈÉ dæãàpÝ TÝÂÆ®Üá° ÖÝvÜÇÝWÜáñܤ¨æ. AÐærà AÆɨæ
B«Üá¯PÜ PÝƨÜÈÉ ÓÜáWÜÊÜá ÓÜíXàñÜ, ÆZá ÓÜíXàñÜ, »Üg®Ý ÓÜíXàñÜ, aÜÆ®Ü bñÜÅ
ÓÜíXàñÜWÜÙÜÈÉ¿áá D ñÝÙÜÊÜ®Üá° ŸÙÜÓÜáñݤÃæ. B¨ÜÃæ aèñÝÙÜÊÜ®Üá° SáÇÝÉ ¸Ýh…®ÜÈÉ
®ÜáwÓÜáñݤÃæ. D ñÝÙÜÊÜ®Üá° «Üáűܨ… WÝ¿á®ÜPæR ŸÙÜÓÜáÊÜâ¨ÜÄí¨Ü C¨Ü®Üá° «Üáűܨ… Gí¨Üã
ÓÜÖÜ PÜÃæ¿ááÊÜÃÜá. D GÇÝÉ AíÍÜWÜÚí¨Ü £à®…ñÝÙÜ ÊÜáñÜᤠaèñÝÙÜ Jí¨ÜPæãRí¨Üá ¼®Ü°
GíŸáÊÜâ¨Ü®Üá° £Ú¿áŸÖÜá¨ÝX¨æ.
£à®…ñÝÙÜ¨Ü ÊÜÞ×£ :
ÊÜÞñæÅWÜÙÜá – 16
»ÝWÜ – 04, ( 4, 4, 4, 4 ÃÜíñæ )
±æoár – 03 ( 1, 5, 13 ®æà ÊÜÞñæÅ¿á ÊæáàÇæ )
ÖÜáÔ – 01 ( 9®æà ÊÜÞñæÅ¿á ÊæáàÇæ )
sæàPÝ

aèñÝÙÜ¨Ü ÊÜÞ×£ :
ÊÜÞñæÅWÜÙÜá – 12
»ÝWÜ – 06 ( 2, 2, 2, 2, 2, 2 ÃÜíñæ )
±æoár – 04 ( 1, 5, 9, 11 ®æà ÊÜÞñæÅ¿á ÊæáàÇæ )
ÖÜáÔ – 02 ( 3, 7®æà ÊÜÞñæÅ¿á ÊæáàÇæ )
sæàPÝ

6

RF/RR(A)-(200)-9055 (MA)

CCE RF & RR 15 98-K

±ÜÅÍæ°
ÓÜíTæ ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá

25. Ÿêí¨ÝÊÜ­ ÓÝÃÜíWÜ ÃÝWÜ¨Ü ÓÜÌÃÜXàñæ¿á¬Üá® ÓÜÌÃÜÈ°Ÿ¨ÜœWæãÚÔ.

Ÿêí¨ÝÊܯ ÓÝÃÜíWÜ ÃÝWÜ¨Ü ÓÜÌÃÜXàñæ
ÓݧÀá :

AíñÜÃÝ :

4

RF/RR(A)-(200)-9055 (MA) [ Turn over