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100+ Free Maharashtra HSC Instrumental Music Practice Questions

Maharashtra Higher Secondary Certificate (HSC / Class 12) Instrumental Music (Instruments Music) under the Maharashtra State Board of Secondary and Higher Secondary Education (MSBSHSE), Pune — subject code 68 practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: Maharashtra HSC Instrumental Music Exam

Subject code 68

Official MSBSHSE HSC subject code for Instrumental Music (Instruments Music)

MSBSHSE HSC general subject codes (mahahsscboard.org/hscsub.htm)

100 marks

Each Indian Music subject (including code 68) is commonly treated as a full 100-mark unit

MSBSHSE Indian Music syllabus choice notes

35%

Common minimum passing floor per HSC subject under MSBSHSE

Maharashtra HSC pass-mark practice (~35% each subject)

Practical / performance

Official Instrumental Music assessment is performance-centred, not pure MCQ

MSBSHSE Indian Music practical subject scheme

Code 65 pairing

History & Development of Indian Music often required with practical music papers

MSBSHSE Indian Music choice-of-subject notes

English MCQ adaptation

This free local bank is not the official Higher Secondary practical format

OpenExamPrep practice policy

Maharashtra MSBSHSE HSC Instrumental Music (code 68) is a Class 12 Indian Music practical subject focused on Hindustani instrumental performance and supporting theory, with ~35% pass floor — not a pure MCQ board paper. This free 2026 bank is an English MCQ study adaptation for gat, alap–jor–jhala, raga, tala, and instrument classification knowledge only.

Sample Maharashtra HSC Instrumental Music Practice Questions

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

1In Hindustani classical music, the seven basic notes of the scale are collectively called:
A.Swara (the set of seven primary tones Sa Re Ga Ma Pa Dha Ni)
B.Saptak only as a Western octave label with no Indian term
C.Tala matras only
D.Gat bols used only for tabla
Explanation: The seven basic tones of the Hindustani scale are called swaras: Shadja (Sa), Rishabh (Re), Gandhar (Ga), Madhyam (Ma), Pancham (Pa), Dhaivat (Dha), and Nishad (Ni). Instrumentalists map these pitches on frets, holes, keys, or fingerboard positions.
2Which two swaras are traditionally treated as immovable (achala) in the Hindustani scale?
A.Re and Dha
B.Sa and Pa
C.Ga and Ni
D.Ma and Ni
Explanation: Sa (Shadja) and Pa (Pancham) are achala (fixed) swaras; the other notes can take komal or tivra variants depending on raga. On fretted instruments, Sa and Pa are stable reference positions.
3A swara lowered by a semitone from its shuddha form is called:
A.Tivra swara
B.Varja swara
C.Komal swara
D.Chikari string
Explanation: Komal means flat/softened: komal Re, Ga, Dha, or Ni sit a semitone below their shuddha positions. Instrumentalists produce komal pitches by finger placement, meend, or key choice depending on the instrument.
4In Hindustani theory, tivra Madhyam (tivra Ma) is:
A.A flattened fourth degree used only in Bhairavi
B.Another name for Pancham
C.A percussion bol used in tabla theka
D.A raised (sharp) form of Madhyam above shuddha Ma
Explanation: Tivra Ma is the sharpened fourth degree of the scale, used in thaats/ragas such as Kalyan (Yaman).
5Vikrit swaras in Hindustani music refer to:
A.Altered forms of movable notes (komal or tivra) as opposed to pure shuddha forms
B.Only the percussion syllables of a theka
C.Only Sa and Pa
D.Western major-scale intervals only
Explanation: Vikrit means altered: the chala notes appear as komal or tivra variants rather than pure shuddha forms.
6An alankar in classical instrumental training is best described as:
A.A fixed tabla solo form only
B.A patterned sequence of swaras used for technical practice and facility
C.A complete vilambit gat with tabla
D.A Western chord progression chart
Explanation: Alankars are patterned note sequences (for example Sa Re Ga, Re Ga Ma) used to build speed, accuracy, and finger/bow/breath control on the instrument.
7A thaat in Bhatkhande’s system is:
A.A complete tabla theka of 16 matras only
B.A type of jhala stroke pattern only
C.A parent scale framework used to classify ragas
D.An exam fee category under MSBSHSE
Explanation: Thaats are parent scale frameworks (ten principal ones in Bhatkhande’s system) used to group and teach ragas by scale type.
8In raga theory, the ascending sequence of notes is called:
A.Avaroha
B.Theka
C.Mukhra only
D.Aroha (or arohana)
Explanation: Aroha (arohana) is the ascent of the raga’s scale; avaroha is the descent. Instrumentalists learn both for every prescribed raga.
9The most important note of a raga, emphasised in development, is the:
A.Vadi
B.Vivadi
C.Varja
D.Khali
Explanation: Vadi is the principal (sonant) note of a raga. Samvadi is the second-most important; instrumental phrases often resolve toward the vadi.
10In tala theory, a matra is:
A.Only the black paste on a tabla head
B.The smallest counting unit (beat) within a tala cycle
C.A complete multi-cycle gat form
D.A raga’s ascending scale
Explanation: Matra is the basic time unit of a tala. Cycles are described by how many matras they contain (for example, 16 in Trital/Teental).

About the Maharashtra HSC Instrumental Music Practice Questions

Verified exam format metadata for Maharashtra Higher Secondary Certificate (HSC / Class 12) Instrumental Music (Instruments Music) under the Maharashtra State Board of Secondary and Higher Secondary Education (MSBSHSE), Pune — subject code 68 is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.