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100+ Free PSEB Matric Music Instrumental Practice Questions

Punjab PSEB Matriculation (Class 10) Music (Instrumental) — Elective (code 31) practice questions are available now; exam metadata is being verified.

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Overall Matric pass percentages are published with each PSEB result; no fixed standing subject-wise Music Instrumental pass-rate figure is used here. Pass Rate
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2026 Statistics

Key Facts: PSEB Matric Music Instrumental Exam

45 + 50 + 5

Theory + Practical + Internal Assessment marks (total 100)

PSEB Scheme of Studies Class X — Music (Instrumental) code 31

Code 31

Subject code for Music (Instrumental) elective

PSEB Scheme of Studies 2026–27

33%

Minimum separately in theory, practical, and INA (and aggregate)

PSEB Scheme of Studies 2026–27

3 ragas

Bhupali, Khamaj, and Bhairav in the Class 10 instrumental syllabus

PSEB Music Instrumental / Sangeet Vadan syllabus

3 talas

Ektal, Rupak, and Chautal prescribed for Matric Music Instrumental

PSEB Music Instrumental / Sangeet Vadan syllabus

MCQ study aid

This bank adapts theory to four-option MCQs; official assessment is mixed theory plus practical (not a performance substitute)

OpenExamPrep assessment-format policy for non-pure-MCQ boards

PSEB Matric Music Instrumental (code 31) is Punjab’s Class 10 instrumental music elective: Theory 45 + Practical 50 + INA 5 = 100 marks. Pass at least 33% in theory, practical, and INA separately and in aggregate (confirm circular). Fee as per PSEB notification. This site offers free English MCQ theory practice with explanations—not a full mixed-paper or performance simulation.

Sample PSEB Matric Music Instrumental Practice Questions

Try these sample questions to test your PSEB Matric Music Instrumental 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 used in PSEB Matric Music Instrumental, a saptak is best described as:
A.A set of seven basic swaras spanning one octave register
B.A 16-matra tala cycle only
C.A type of double-reed wind instrument only
D.The written signature of a gharana founder only
Explanation: Saptak is the seven-swara framework (Sa Re Ga Ma Pa Dha Ni) within one octave register. School theory also distinguishes mandra (lower), madhya (middle), and tara (upper) saptaks.
2Chal swaras are notes that:
A.Can take komal or teevra variants relative to their shuddha form
B.Are always fixed and never altered in any raga
C.Exist only in Western major scales
D.Are another name for the full tala theka
Explanation: Chal (movable) swaras can appear as shuddha or vikrit (komal/teevra). Re, Ga, Ma, Dha, and Ni can take variants; Ma’s raised form is teevra Ma.
3Which pair are classically treated as achal (immovable) swaras?
A.Shadja (Sa) and Pancham (Pa)
B.Only komal Re and teevra Ma
C.Only Ga and Ni in every raga
D.Only Dha and Ma in every raga
Explanation: Sa and Pa are achal — they do not take komal/teevra forms in the standard Hindustani system. Other swaras may be shuddha or vikrit depending on raga.
4An alankar in instrumental theory practice is primarily:
A.A patterned ornamental sequence of swaras used for technique and riyaaz
B.A type of folk drum only
C.The empty beat (khali) of every tala
D.A written exam fee receipt only
Explanation: Alankars are swara patterns (often ascending–descending sequences) used to build control, intonation, and speed on the instrument.
5Shruti in school-level Indian music theory refers to:
A.A microtonal pitch interval finer than a full swara step
B.Only a 12-matra tala
C.Only the largest gourd of a sitar
D.Only Western staff notation
Explanation: Shruti is a microtonal pitch unit. Classical texts describe 22 shrutis in an octave; swaras are placed on selected shrutis.
6Thah (or ekgun) laya means presenting a composition or theka:
A.In basic speed — one bol/matra correspondence as the reference tempo
B.Always three times faster than chaugun only
C.Without any rhythmic cycle at all
D.Only on wind instruments exclusively
Explanation: Thah/ekgun is the basic single-speed presentation. Dugun is double speed, tigun triple, chaugun quadruple relative to thah.
7Dugun layakari means the material is presented:
A.At double the speed of thah within the same tala cycle framework
B.At half the speed of thah only
C.With no swaras allowed
D.Only as a silent mime performance
Explanation: In dugun, two units occupy the time of one thah unit, so the material covers the cycle twice as densely/faster relative to thah.
8Vikrit swaras are best defined as:
A.Altered forms of chal swaras — komal (flattened) or teevra (sharpened)
B.Only Sa and Pa in every raga
C.Only Western accidentals with no Indian equivalent
D.The name of a 7-matra tala only
Explanation: Vikrit means altered: komal Re/Ga/Dha/Ni and teevra Ma are the common school-level examples contrasted with shuddha forms.
9In instrumental performance, jhala is best described as:
A.A fast rhythmic section using chikari/drone strokes with dense right-hand patterns
B.Only the slow free-tempo alap without pulse
C.Only a percussion solo on tabla without melody
D.Only writing staff notation in Western keys
Explanation: Jhala is a climactic fast section on melodic instruments (especially sitar/sarod) featuring rapid strokes involving chikari strings with a strong rhythmic drive.
10Sthayi (sthai) in a composition typically refers to:
A.The opening/main section that establishes the raga and often returns as a refrain
B.Only the final silence after a concert
C.Only the empty beat of Rupak
D.Only the sympathetic strings of a sitar
Explanation: Sthayi is the first/main section of a bandish/gat structure. Antara is the contrasting higher-register section that follows.

About the PSEB Matric Music Instrumental Practice Questions

Verified exam format metadata for Punjab PSEB Matriculation (Class 10) Music (Instrumental) — Elective (code 31) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.