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100+ Free Karnataka II PUC Hindustani Music (KSEAB) Practice Questions

Karnataka School Examination and Assessment Board (KSEAB) II PUC Class 12 Hindustani Music (Code 26 — theory and practical/performance) practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: Karnataka II PUC Hindustani Music (KSEAB) Exam

Code 26

Official subject code for II PUC Hindustani Music

KSEAB / DPUE Hindustani Music blueprint & MQP hub

Theory + practical

Official assessment includes written theory and essential performance evidence

KSEAB II PUC Music assessment pattern

~35%

Commonly reported overall pass threshold (confirm circular)

KSEAB II PUC pass criteria reporting

Mixed + performance

Official format is mixed written theory plus practical/performance, not pure MCQ

KSEAB II PUC Hindustani Music assessment pattern

Ten thaats

Bhatkhande parent-scale system taught in PUC Hindustani theory

Standard Hindustani school pedagogy / KSEAB theory materials

English MCQ adaptation

This free local bank is theory revision only — not a performance substitute

OpenExamPrep practice policy

KSEAB II PUC Hindustani Music (code 26) is a Class 12 board subject with written theory plus essential practical/performance. Pass is commonly ~35% overall (careful wording) as notified. Fees are paid through colleges. This free 2026 bank is an English MCQ theory adaptation — not an official paper or performance exam.

Sample Karnataka II PUC Hindustani Music (KSEAB) Practice Questions

Try these sample questions to test your Karnataka II PUC Hindustani Music (KSEAB) exam readiness. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1In Hindustani music theory, the complete set of seven basic swaras (Sa Re Ga Ma Pa Dha Ni) is called a:
A.Bandish
B.Theka
C.Saptak
D.Tala
Explanation: Saptak literally means a group of seven and names the octave-like span of the seven basic swaras taught throughout secondary and PUC Hindustani theory.
2Which pair of swaras is traditionally treated as achal (fixed) relative to the tonic in school-level Hindustani teaching?
A.Re and Ga
B.Sa and Pa
C.Ma and Ni
D.Dha and Ni
Explanation: Shadja (Sa) and Pancham (Pa) are the classic achal swaras; Re, Ga, Ma, Dha, and Ni take variable (komal/teevra) forms in common PUC pedagogy.
3In standard Hindustani terminology, a komal swara is:
A.Lowered (flattened) relative to its shuddha form
B.Raised a full tone above teevra Ma by definition only
C.Always identical to Western sharp notation only
D.A percussion stroke name on the tabla
Explanation: Komal means flattened relative to the natural (shuddha) form—applied to Re, Ga, Dha, and Ni in common Class 12 teaching.
4Teevra Ma refers to which alteration?
A.The flattened form of shadja
B.A type of drone string only
C.The raised (sharpened) form of madhyam
D.A 16-matra tala
Explanation: Teevra Ma is the raised (sharpened) madhyam—central to ragas such as Yaman that use Kalyan-type scales.
5The three common saptak registers in Hindustani theory, from low to high pitch, are:
A.Vilambit, madhya, drut
B.Mandara, madhya, taar
C.Sthayi, antara, sanchari
D.Audav, shadav, sampurna
Explanation: Mandara (lower), madhya (middle), and taar (upper) name the three common pitch registers of the saptak in school and PUC teaching.
6Shuddha swaras are best described as:
A.Only percussion bols of Teental
B.The natural (unaltered) forms of the seven basic notes relative to the tonic system taught in class
C.Any note played only on the shehnai
D.Notes that can never appear in a raga pakad
Explanation: Shuddha denotes the natural forms of the swaras against which komal and teevra variants are defined in school pedagogy.
7Vikrit swaras in common PUC teaching refer to:
A.Only Sa and Pa when they are held longer
B.Swara forms altered from shuddha—typically komal Re/Ga/Dha/Ni and teevra Ma
C.Any note written only in Western staff notation
D.Tabla strokes on the bayan only
Explanation: Vikrit (altered) swaras are the non-shuddha variants: komal Re, Ga, Dha, Ni and teevra Ma in standard secondary/PUC frameworks.
8In classical Indian music theory as taught at PUC level, a shruti is best understood as:
A.A 16-matra tala cycle
B.A microtonal pitch interval finer than the common swara step used in traditional pitch theory
C.A type of bandish section only
D.A gharana’s exclusive percussion bol set
Explanation: Shruti denotes subtle pitch gradations (classically counted as 22 in traditional theory) finer than the seven named swaras—an aesthetics/theory concept, not a tala or form name.
9Alankar in Hindustani practice primarily means:
A.A fixed raga pakad only
B.Ornamental/patterned note exercises that train voice or instrument technique and swara fluency
C.The drone-only part of a concert
D.A tala with seven matras only
Explanation: Alankar are patterned swara exercises (and ornamental training patterns) used in riyaaz to build accuracy, speed, and phrase fluency.
10Singing or playing a melody using note names Sa, Re, Ga… rather than lyrics is called:
A.Tarana
B.Sargam
C.Theka
D.Nom-tom
Explanation: Sargam is the solmization practice of rendering music with swara syllables (Sa Re Ga Ma Pa Dha Ni).

About the Karnataka II PUC Hindustani Music (KSEAB) Practice Questions

Verified exam format metadata for Karnataka School Examination and Assessment Board (KSEAB) II PUC Class 12 Hindustani Music (Code 26 — theory and practical/performance) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.