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100+ Free Maharashtra HSC Percussion Practice Questions

Maharashtra Higher Secondary Certificate (HSC / Class 12) Indian Music Percussion under the Maharashtra State Board of Secondary and Higher Secondary Education (MSBSHSE), Pune — subject code 69 practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: Maharashtra HSC Percussion Exam

Subject code 69

Official MSBSHSE HSC subject code for Indian Music Percussion

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

35%

Common minimum passing floor per HSC subject under MSBSHSE

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

Theory + practical

Music electives typically require written theory and essential performance evidence

MSBSHSE HSC music-subject assessment practice

Not pure MCQ

Official Percussion assessment is not a pure multiple-choice board paper

MSBSHSE HSC music paper-pattern practice

Not a performance substitute

This free local bank covers theory only — practical riyaaz remains essential

OpenExamPrep practice policy

English MCQ adaptation

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

OpenExamPrep practice policy

Maharashtra MSBSHSE HSC Indian Music Percussion (code 69) is a Class 12 music elective with written theory plus essential practical/performance and a common ~35% pass floor — not a pure MCQ board paper. This free 2026 bank is an English MCQ theory adaptation for tala, theka, kayda/rela, gharanas, notation, and accompaniment only; it is not a performance substitute.

Sample Maharashtra HSC Percussion Practice Questions

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

1In Hindustani percussion theory, a tala is best defined as:
A.A cyclic framework of fixed matras that organises musical time
B.A melodic scale used only for raga classification
C.A single unpitched stroke on the bayan drum
D.A modern Western time-signature with no repeating cycle
Explanation: Tala is the cyclic rhythmic framework of Hindustani music: a fixed number of matras grouped into vibhags that repeats in successive avartans.
2In tala theory, a matra is:
A.The smallest counting unit (beat) within a tala cycle
B.Only the black paste on the Tabla head
C.A complete multi-cycle solo 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 Teental).
3Vibhag in a tala cycle refers to:
A.A sectional grouping of matras that structures the cycle
B.The wooden shell of the dayan only
C.A type of vocal improvisation
D.The fee paid for a board practical
Explanation: Vibhags are the sectional divisions of a tala (for example, 4+4+4+4 in Teental). They organise tali and khali placement and help identify the cycle.
4One complete traversal of a tala cycle from sam back to the next sam is called an:
A.Avartan
B.Alap
C.Thaat
D.Saptak
Explanation: Avartan is one full cycle of the tala. Compositional development and cadences are counted in avartans.
5Sam in a tala is:
A.The first and principal beat of the cycle, where phrases typically resolve
B.Only the empty wave of the hand with no clap
C.Any bayan stroke played alone
D.The final silent bar after every performance
Explanation: Sam is the cycle’s first and most important beat. Tihais and many cadences are designed to land on sam.
6Tali in hand-recitation of tala mainly indicates:
A.Clapped, accented points that help mark the cycle’s structure
B.Only the wooden gatta pegs on the dayan
C.A free improvisation without counting
D.The name of a pakhawaj gharana
Explanation: Tali are the clapped (accented) points of a tala’s vibhag structure, contrasting with khali’s open wave.
7In Maharashtra HSC Percussion theory, what does khali mark in a tala’s structure?
A.An unaccented ‘empty’ section, often shown by a wave of the hand rather than a clap
B.The loudest possible stroke on every matra
C.The only place a kayda may begin
D.A raga’s vadi note
Explanation: Khali is the empty/unaccented structural point (commonly a wave). It helps distinguish vibhags and identify talas.
8Laya in percussion theory primarily means:
A.The tempo or pace at which the tala and material move
B.Only the black syahi disk
C.A fixed 12-matra tala identical to Teental
D.A biography of a gharana founder
Explanation: Laya is tempo/pace — commonly discussed as vilambit (slow), madhya (medium), and drut (fast). Layakari builds on control of laya relative to the cycle.
9Vilambit, madhya, and drut most commonly describe:
A.Slow, medium, and fast laya (tempo ranges)
B.Three types of Tabla wood only
C.Three mandatory gharanas every student must join
D.Three Western time signatures only
Explanation: These are the standard broad tempo bands used in Hindustani performance discussion: slow (vilambit), medium (madhya), and fast (drut).
10Why do vibhag divisions matter when identifying a tala from a theka?
A.They reveal the internal grouping pattern and tali/khali layout that distinguish cycles with the same matra count
B.They change the raga of the composition automatically
C.They remove the need to know matra count
D.They only apply to Western staff notation
Explanation: Different talas can share a matra count (for example, Chartal and Ektal at 12) but differ in vibhag structure and theka. Vibhag literacy is essential for identification.

About the Maharashtra HSC Percussion Practice Questions

Verified exam format metadata for Maharashtra Higher Secondary Certificate (HSC / Class 12) Indian Music Percussion under the Maharashtra State Board of Secondary and Higher Secondary Education (MSBSHSE), Pune — subject code 69 is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.