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100+ Free PSEB Matric Music Vocal Practice Questions

Punjab PSEB Matriculation (Class 10) Music (Vocal) — Elective 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 Vocal pass-rate figure is used here. Pass Rate
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2026 Statistics

Key Facts: PSEB Matric Music Vocal Exam

45 + 50 + 5

Theory + Practical + Internal Assessment marks (total 100)

PSEB Matric Music (Vocal) examination pattern

Elective

Music (Vocal) is a PSEB Matric Group-B elective subject

PSEB Scheme of Studies for Class X

33%

Typical minimum pass in theory and practical separately (confirm circular)

PSEB examination scheme notes

3 ragas

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

PSEB Music Vocal 2026-27 syllabus

3 talas

Ektal, Rupak, and Chautal prescribed for Matric Music Vocal

PSEB Music Vocal 2026-27 syllabus

MCQ study aid

This bank adapts theory to four-option MCQs; official assessment is mixed theory plus practical

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

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

Sample PSEB Matric Music Vocal Practice Questions

Try these sample questions to test your PSEB Matric Music Vocal 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, a saptak is best described as:
A.A cycle of seven basic swaras from Sa to Ni (with the upper Sa completing the octave span)
B.Only a 12-matra tala theka
C.Only a dance mudra set
D.A Western brass ensemble only
Explanation: Saptak is the seven-note scale span (Sa Re Ga Ma Pa Dha Ni) that frames pitch space; the next Sa marks the next saptak.
2Which pair correctly identifies the achal (immovable) swaras in the standard Hindustani system?
A.Only komal Re and teevra Ma
B.Sa and Pa — they do not take komal or teevra forms
C.Only Ga and Ni
D.Only Dha and Ma
Explanation: Sa and Pa are achal: they remain fixed reference pitches and do not appear as komal or teevra variants.
3Chal swaras are those that:
A.Never appear in any raga
B.Exist only on Western staff lines
C.Can take komal and/or teevra forms (such as Re, Ga, Ma, Dha, Ni)
D.Are only percussion bols
Explanation: Chal swaras may shift: Re, Ga, Dha, Ni can be komal; Ma can be teevra (in addition to shuddha).
4An alankar in vocal training is primarily:
A.Only a tabla theka name
B.Only a stage lighting cue
C.A ban on using Sa
D.A patterned sequence of swaras practised for accuracy, agility, and voice control
Explanation: Alankars are systematic swara patterns (e.g., SaReGa, ReGaMa…) used as riyaaz exercises.
5In classical theory, a shruti is best understood as:
A.A microtonal pitch unit finer than the twelve named swara positions; classically 22 shrutis are discussed in an octave
B.Only a full 16-beat tala
C.Only a folk drum of Punjab
D.A written board circular only
Explanation: Shruti denotes micro-interval pitch space; traditional texts speak of 22 shrutis within the saptak.
6Thah (or barabar) laya refers to:
A.Always four times the basic speed only
B.Playing or singing the theka/composition at its basic one-matra-per-beat speed
C.Silence for an entire aavartan only
D.Only Western 4/4 drum fills
Explanation: Thah is the fundamental speed: one theka matra aligned to one beat unit of the chosen tempo.
7Dugun laya means the material is presented at:
A.Half the basic speed only
B.Exactly the same speed as thah always
C.Double speed relative to thah (two units per beat of the base cycle)
D.Only random free tempo with no relation to matra
Explanation: Dugun doubles the density: what took one aavartan in thah fills half the time, or twice the bols per beat.
8A vakra swar (or vakra chalan) indicates that a note is used:
A.Only in strict straight ascending order always
B.Only as a percussion stroke
C.Never in any prescribed Class 10 raga
D.In a zig-zag or non-linear approach rather than pure scalar aroha–avaroha
Explanation: Vakra movement twists the path (e.g., approaching a note via a neighbour) instead of pure step-wise ascent/descent.
9In a bandish, the sthai (sthayi) is typically:
A.The opening section set mainly in the lower/middle register that returns as a refrain
B.Only the final silent pause after the concert
C.Only the tabla solo theka without melody
D.A thaat name invented by Bhatkhande
Explanation: Sthai is the principal refrain section of a composition, usually grounded in the lower–middle saptak.
10The antara of a khayal bandish usually:
A.Avoids all higher notes by rule
B.Explores higher-register phrases, often emphasizing the upper Sa region, before returning to the sthai
C.Is only a tala name with 7 matras
D.Replaces the need for any raga rules
Explanation: Antara contrasts the sthai by moving into the upper register and is followed by a return to the refrain.

About the PSEB Matric Music Vocal Practice Questions

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