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100+ Free BSEH Secondary Music Vocal Practice Questions

Haryana BSEH Secondary (Class 10) Hindustani Music (Vocal) — MHV Code 085 practice questions are available now; exam metadata is being verified.

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Key Facts: BSEH Secondary Music Vocal Exam

MHV 085

BSEH Secondary Hindustani Music (Vocal) subject code

Board of School Education Haryana Class 10 syllabus

20 + 60 + 20

Theory + Practical + Internal Assessment marks (total 100)

BSEH Music Vocal Code 085 examination pattern

2½ hours

Theory paper duration

BSEH Secondary Music Vocal question-paper design

33%

Minimum pass in aggregate and separately in external exam

BSEH examination regulations

3 ragas

Bhimpalasi, Vrindavani Sarang, and Khamaj in the Class 10 vocal syllabus

BSEH MHV Code 085 syllabus

MCQ study aid

This bank adapts theory to four-option MCQs; official assessment is mixed theory plus heavy practical

OpenExamPrep assessment-format policy for non-pure-MCQ boards

BSEH Secondary Music Vocal (MHV Code 085) is Haryana’s Class 10 Hindustani Vocal paper: Theory 20 + Practical 60 + IA 20 = 100 marks. Theory about 2½ hours. Pass at least 33% aggregate and 33% in external. Fee as per BSEH notification. This site offers free English MCQ theory practice with explanations—not a full mixed-paper or practical simulation.

Sample BSEH Secondary Music Vocal Practice Questions

Try these sample questions to test your BSEH Secondary Music Vocal exam readiness. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1In Hindustani vocal practice, the tanpura is primarily used to provide a continuous:
A.Drone of reference pitches (typically based on Sa and often Pa or Ma)
B.Only melodic solo improvisation replacing the singer
C.Only percussion theka instead of tabla
D.Only Western equal-tempered chord progressions
Explanation: The tanpura supplies a steady harmonic drone so the singer can keep pitch relative to Sa (and often Pa/Ma).
2Which statement best describes a common four-string tanpura tuning used with vocal music?
A.Only one string is ever used and the rest are mute decoration
B.Two middle strings on Sa with outer strings often on Pa (or Ma) and high Sa, adjusted to the singer’s pitch
C.All four strings always tuned only to komal Ni
D.Strings are never tuned to Sa in vocal music
Explanation: A frequent teaching pattern uses Sa–Sa–Pa–Sa (or Sa–Sa–Ma–Sa) relative to the singer’s chosen tonic.
3In BSEH Class 10 Music Vocal syllabus language, “mixing” the tanpura mainly refers to:
A.Mixing paint for the gourd decoration only
B.Mixing dance mudras with percussion only
C.Tuning and blending its strings so the drone locks cleanly to the singer’s Sa
D.Mixing audio tracks on a computer only
Explanation: School syllabi use “mixing” for the practical method of bringing tanpura strings into pure, blended tune with the voice.
4The resonating body of a traditional tanpura is commonly made from a:
A.Metal snare drum shell only
B.Plastic recorder tube only
C.Glass bottle without a neck
D.Dried gourd (tumba) attached to a long wooden neck
Explanation: A classic tanpura uses a gourd resonator and long wooden stem/neck that carries the strings and bridge.
5Why is the tanpura especially important for Hindustani vocal students?
A.It establishes a stable tonal centre so swaras of a raga stay correctly relative to Sa
B.It replaces the need to learn any raga rules
C.It keeps tala matras automatically without tabla or hand-counting
D.It writes bandish notation by itself
Explanation: Pitch accuracy in raga depends on hearing Sa continuously; the tanpura supplies that reference.
6Which part of the tanpura raises and supports the strings so they can buzz/resonate characteristically?
A.The harmonium bellows only
B.The bridge (ghodi/jawari area) on the soundboard path of the strings
C.The tabla syahi paste only
D.The flute embouchure hole only
Explanation: The bridge and jawari adjustment shape the tanpura’s rich overtone buzz essential to its drone sound.
7A student is asked to draw and label a tanpura in the theory paper. Which set of labels is most appropriate?
A.Only keys, bellows, and stops like a pipe organ
B.Only skin heads, lacing, and syahi like a tabla
C.Tumba (gourd), dand (neck/stem), strings, bridge, pegs
D.Only frets, bow, and sound-post like a violin
Explanation: A correct diagram shows the gourd body, long neck, strings, bridge, and tuning pegs of the tanpura.
8Compared with a fretted sitar, the tanpura used for vocal drone is typically:
A.A double-reed wind instrument
B.A membranophone with two heads
C.Fretless, meant for continuous open-string drone rather than fretted melodies
D.Heavily fretted for rapid gamak solos as its main role
Explanation: Tanpura strings are played open as drone; fretted melodic work is the domain of instruments like sitar.
9When a vocalist shifts the chosen tonic (Sa) for comfort, the tanpura should:
A.Stay on a fixed absolute pitch forever regardless of the singer
B.Be silenced because drone is optional in all ragas for exams
C.Be tuned only to the tabla’s bayan pitch always
D.Be re-tuned so its drone matches the new Sa (and related Pa/Ma)
Explanation: Sa is relative to the singer; tanpura mixing/tuning follows the selected tonic for that performance.
10The continuous “jivari/jawari” quality associated with a well-set tanpura refers mainly to:
A.A rich buzzing overtone texture from proper bridge/string setup
B.A type of tala with 16 matras only
C.A raga that uses only komal swaras
D.A folk dance of Haryana only
Explanation: Jawari describes the carefully adjusted bridge contact that produces the tanpura’s shimmering overtones.

About the BSEH Secondary Music Vocal Practice Questions

Verified exam format metadata for Haryana BSEH Secondary (Class 10) Hindustani Music (Vocal) — MHV Code 085 is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.