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100+ Free BSEH SS Tabla Practice Questions

Board of School Education Haryana (BSEH) Senior Secondary Hindustani Music Tabla (Percussion Instrument) (Class 12 — code 652) practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: BSEH SS Tabla Exam

652

BSEH Senior Secondary Hindustani Music Tabla subject code

BSEH Class 12 Tabla syllabus

30 + 50 + 20

Theory + Practical + Internal Assessment marks (total 100)

BSEH Class 12 Tabla course structure 2025-26

2½ hours

Typical BSEH Senior Secondary Tabla theory exam duration

BSEH question-paper design (code 652)

33%

Common Senior Secondary subject pass floor for BSEH theory electives

BSEH Senior Secondary notification practice

English MCQ adaptation

This free local bank is not the official Senior Secondary paper format

OpenExamPrep practice policy

BSEH Senior Secondary Tabla (code 652) is a Class 12 public-exam subject: Theory 30 + Practical 50 + IA 20 = 100, theory about 2½ hours, with a 33% pass floor — not a pure MCQ board paper. This free 2026 bank is an English MCQ study adaptation for bols, taals, kayda/rela, gharanas, history, and prescribed biographies.

Sample BSEH SS Tabla Practice Questions

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

1In a Tabla solo recital, which composition typically opens the presentation as a systematic theme for further expansion?
A.Peshkar (peshkara)
B.Laggi in Dadra only
C.A closing tihai without theme
D.A fixed raga alap
Explanation: Peshkar (peshkara) is the traditional opening thematic composition of a Tabla solo, developed through variations before later forms such as kayda and rela.
2What best defines a kayda (qaida) in Tabla theory?
A.A fixed theme developed through systematic paltas and usually concluded with a tihai
B.Only the bayan stroke used to mark khali
C.A free improvisation with no repeating theme
D.A vocal bandish form unrelated to percussion
Explanation: A kayda presents a clear bol theme that is expanded through paltas (variations) while retaining structural identity, commonly ending with a tihai that lands on sam.
3Compared with a kayda, a rela is best described as:
A.A denser, faster-flowing composition built from rapid, closely packed bol patterns
B.A slow dhrupad vocal form only
C.A tuning method for the syahi
D.A 16-matra tala identical to Teental
Explanation: Rela emphasises rapid, continuous, closely articulated bols with a flowing character; it is typically faster and denser than a kayda theme.
4An uthan in Tabla performance is primarily:
A.An introductory composition that announces the soloist’s presence, often before or near the start of full thematic development
B.The final silent bar of every tala
C.Only the leather strap system of the bayan
D.A South Indian mridangam theka name
Explanation: Uthan is an opening/introductory composition that projects the player’s command at the start of a presentation, distinct from the more systematic peshkar–kayda development that follows.
5A chakkardar (chakradar) composition is characterised by:
A.A phrase group that is designed to complete three full cycles (chakkar) before resolving on sam
B.Playing only on the dayan permanently
C.Using no bols at all
D.Changing raga every matra
Explanation: Chakkardar compositions multiply a unit so that three cycles (chakkar) of the designed phrase structure resolve powerfully on sam.
6A tukra in Tabla repertoire is best defined as:
A.A relatively short, fixed composition that typically ends with a tihai landing on sam
B.An unlimited free improvisation without cadence
C.Only the written notation system of Bhatkhande
D.A melodic gamak ornament
Explanation: Tukra is a compact, composed piece (often brilliant or showy) that concludes with a tihai designed to meet sam cleanly.
7A paran (often associated with pakhawaj tradition and used on Tabla) typically features:
A.Powerful, resonant bol language and composed phrases that may include heavy open strokes and cadential design
B.Only whispered bols played exclusively in silence
C.A raga scale of seven notes
D.A string-instrument plucking technique
Explanation: Paran compositions draw on pakhawaj-style forceful bol vocabulary and structured phrases; they are part of both pakhawaj and Tabla advanced repertoire.
8What is a tihai?
A.A rhythmic phrase repeated three times so that the last stroke lands on sam
B.A permanent mute placed under the pudi
C.A 7-matra tala only
D.The name of the bayan’s metal shell
Explanation: Tihai is a thrice-repeated cadential phrase calculated so the final stroke coincides with sam, creating a strong structural arrival.
9A damdar tihai differs from a simple continuous tihai mainly because it:
A.Inserts measured pauses (dam) between the three statements of the phrase
B.Uses only left-hand strokes forever
C.Must be played in Rupak only
D.Never ends on sam
Explanation: Damdar tihai spaces the three iterations with intentional rests (dam), heightening tension before the final arrival on sam.
10In classical music terminology relevant to the syllabus, varna (varana) most nearly refers to:
A.Syllabic/stroke categories and letter-sound materials that form musical utterance
B.Only the black paste on the pudi
C.A government music exam board
D.A fixed 16-matra theka of Teental alone
Explanation: Varna relates to the elemental sound/syllable materials of music (and, by extension in percussion discourse, bol-sound categories) that build phrases.

About the BSEH SS Tabla Practice Questions

Verified exam format metadata for Board of School Education Haryana (BSEH) Senior Secondary Hindustani Music Tabla (Percussion Instrument) (Class 12 — code 652) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.