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100+ Free Maharashtra HSC Vocal Classical Music Practice Questions

Maharashtra Higher Secondary Certificate (HSC / Class 12) Vocal Classical Music under the Maharashtra State Board of Secondary and Higher Secondary Education (MSBSHSE), Pune — subject code 67 practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: Maharashtra HSC Vocal Classical Music Exam

Subject code 67

Official MSBSHSE HSC subject code for Vocal Classical Music

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

100 marks

Each Indian Music subject (including code 67) 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 Vocal Classical 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 Vocal Classical Music (code 67) is a Class 12 Indian Music practical subject focused on Hindustani vocal 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 swara, raga, tala, thaat, bandish, alankar, and gharana knowledge only.

Sample Maharashtra HSC Vocal Classical Music Practice Questions

Try these sample questions to test your Maharashtra HSC Vocal Classical 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.Saptak only as a Western octave label with no Indian term
B.Swara (the set of seven primary tones Sa Re Ga Ma Pa Dha Ni)
C.Tala matras only
D.Thaat parentheses used only for percussion
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).
2Which two swaras are traditionally treated as immovable (achala) in the Hindustani scale?
A.Re and Dha
B.Ga and Ni
C.Sa and Pa
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.
3A swara lowered by a semitone from its shuddha form is called:
A.Tivra swara
B.Komal swara
C.Varja swara
D.Vadi swara
Explanation: Komal means flat/softened: komal Re, Ga, Dha, or Ni sit a semitone below their shuddha positions. Tivra raises Ma above shuddha Ma.
4In Hindustani theory, tivra Madhyam (tivra Ma) is:
A.A flattened fourth degree used only in Bhairavi
B.A raised (sharp) form of Madhyam above shuddha Ma
C.Another name for Pancham
D.A percussion bol used in tabla theka
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.Only the percussion syllables of a theka
B.Altered forms of movable notes (komal or tivra) as opposed to pure shuddha forms
C.Only Sa and Pa
D.Western major-scale intervals only
Explanation: Vikrit (altered) swaras are the komal and tivra variants of chala notes, contrasted with shuddha (natural) forms.
6The three main pitch registers (saptaks) used in Hindustani vocal practice are:
A.Vilambit, madhya, and drut only as tempo labels for registers
B.Mandra, madhya, and taar (lower, middle, and higher octaves)
C.Sthai, antara, and abhog only
D.Sam, kali, and tali only
Explanation: Saptak registers are mandra (lower), madhya (middle), and taar (upper). Tempo terms vilambit/madhya/drut are laya categories, not octave names.
7Shuddha swaras are best described as:
A.Only the notes that are always omitted in every raga
B.The natural, unaltered forms of the seven swaras before komal/tivra alteration
C.Only the notes used in Western equal temperament with no Indian name
D.Percussion matras counted on the left hand only
Explanation: Shuddha means pure/natural: the default positions of Sa Re Ga Ma Pa Dha Ni before applying komal or tivra alterations.
8Which statement about Sa is correct in school Hindustani theory?
A.Sa is freely shifted to komal and tivra forms in every thaat
B.Sa is the tonic (shadja) and is treated as a fixed reference pitch for the raga
C.Sa is always the vadi of every raga
D.Sa is never sung in mandra saptak
Explanation: Sa is the tonic reference. Other notes are defined relative to Sa; Sa itself is not komal/tivra.
9Chala swaras are those that:
A.Can take altered (komal or tivra) forms depending on raga/thaat
B.Are forbidden in all classical forms
C.Exist only on the tabla
D.Are identical to the names of talas
Explanation: Chala (movable) swaras — Re, Ga, Ma, Dha, Ni — may appear shuddha or altered; Sa and Pa remain achala.
10In voice-culture theory for classical vocal students, ‘riyaz’ primarily means:
A.A fixed board exam seating plan
B.Disciplined, regular practice of swara, voice, and repertoire
C.A type of dhrupad composition only
D.A percussion solo form replacing tabla
Explanation: Riyaz is systematic daily practice — the foundation of classical voice culture, pitch accuracy, and repertoire mastery emphasised in the MSBSHSE music curriculum aims.

About the Maharashtra HSC Vocal Classical Music Practice Questions

Verified exam format metadata for Maharashtra Higher Secondary Certificate (HSC / Class 12) Vocal Classical Music under the Maharashtra State Board of Secondary and Higher Secondary Education (MSBSHSE), Pune — subject code 67 is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.