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100+ Free PSEB SS Music Instrumental Practice Questions

Punjab School Education Board (PSEB) Senior Secondary Music (Instrumental) (Class 12 — subject code 037) practice questions are available now; exam metadata is being verified.

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Overall Senior Secondary 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 SS Music Instrumental Exam

45 + 50 + 5

Theory + Practical + Internal Assessment marks (total 100)

PSEB Scheme of Studies Class XII — Music (Instrumental) code 037

Code 037

Subject code for Music (Instrumental) Senior Secondary

PSEB Scheme of Studies Class XII

33%

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

PSEB Scheme of Studies Class XII

4 ragas

Bhairav, Malkauns, Bhimpalasi, and Khamaj in the Class 12 instrumental syllabus

PSEB Class 12 Instrumental Syllabus 2025–26

6 talas

Rupak, Ek Taal, Tilwada, Dhamar, Sultal, and Jhap Taal with ekgun/dugun

PSEB Class 12 Instrumental Syllabus 2025–26

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 Senior Secondary Music Instrumental (code 037) is Punjab’s Class 12 instrumental music subject: Theory 45 + Practical 50 + INA 05 = 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 SS Music Instrumental Practice Questions

Try these sample questions to test your PSEB SS 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 PSEB Class 12 Music Instrumental theory, a mizrab is best described as:
A.A wire plectrum worn on the right-hand finger to pluck sitar strings
B.A wooden bridge under the tabla bayan only
C.A type of slow tala with 7 matras only
D.The lower gourd resonator of the tanpura only
Explanation: A mizrab is the metal/wire plectrum used on sitar (and similar plucked instruments) to strike the main strings. Syllabus lists mizrab among core instrumental technique terms.
2Meend (meend) in Hindustani instrumental technique primarily means:
A.A continuous gliding transition between notes without discrete breaks
B.Playing only open strings with no left-hand fretting
C.Striking the tabla with the elbow only
D.Writing tala bols in Western staff notation only
Explanation: Meend is a smooth portamento-like slide connecting pitches—central to expressive sitar and bowed playing. Syllabus lists meend among required definitions.
3Kan (kan-swar) in instrumental ornamentation typically refers to:
A.A brief grace or touch-note that ornaments a principal swara
B.A full 16-matra Teental cycle only
C.The metal frets of a sitar only
D.A type of double-reed wind instrument only
Explanation: Kan denotes a short grace note or momentary touch of a neighbouring pitch that colours the main note—listed in the Class 12 instrumental terms.
4Jhalla (jhala) in sitar performance is best characterised as:
A.A fast, rhythmic closing phase using chikari/drone strings with dense plucking
B.Only the very first unmetered alap phrase of a raga
C.A tala with exactly 10 matras and 2 khalis only
D.The written biography of a gharana founder only
Explanation: Jhalla is the brilliant, high-speed rhythmic climax of many instrumental presentations, featuring chikari interplay. Syllabus lists jhalla among technique terms.
5Chikari strings on a sitar are primarily used to:
A.Provide high-pitched rhythmic drone accents, especially in jhalla
B.Replace the tabla entirely in every performance
C.Carry only the melody of the national anthem
D.Tune the tabla bayan with a hammer
Explanation: Chikari are high drone strings plucked for rhythmic sparkle, most prominently in jhalla. Syllabus lists chikari among key terms.
6Gamak in Hindustani instrumental usage most nearly means:
A.A forceful, oscillating ornament shaking a note with controlled intensity
B.A silent rest equal to one full avartan only
C.The name of a morning-only thaat scale
D.A type of clay percussion from Kerala only
Explanation: Gamak is a vigorous shake/oscillation of a swara—an important expressive ornament in both vocal and instrumental Hindustani music.
7Krintan (krintan) on fretted string instruments typically involves:
A.Plucking and left-hand pull-off/hammer patterns that articulate successive notes crisply
B.Blowing across a bamboo edge without any fingering
C.Only singing solfa syllables without instrument
D.Writing Western dynamics symbols above every matra
Explanation: Krintan is a left-hand pluck/pull technique producing clear successive notes on sitar-type instruments—listed in the Class 12 terms.
8Soot (sut) as an instrumental ornament generally denotes:
A.A quick gliding connection or slide linking notes (related to meend family ideas)
B.A 14-matra dhrupad tala only
C.The wooden body of a tabla only
D.A complete ban on komal swaras in every raga
Explanation: Soot refers to a sliding connection between notes on string instruments, often discussed alongside meend-type ornaments in school theory.
9Zamjama (zamzama) in instrumental/vocal ornament vocabulary is best described as:
A.A rapid, clustered series of successive notes or shakes around a pitch
B.A single long silence lasting one entire concert half
C.The name of Bhatkhande's first thaat only
D.A type of large barrel drum used only in Western orchestras
Explanation: Zamjama denotes a fast ornamental cluster of notes/shakes—part of the advanced ornament list in the Class 12 instrumental syllabus.
10In raga classification terms used in school theory, a shuddha raga (shudh rag) typically means a raga that:
A.Is considered relatively pure/independent in form, not a mixed chhayalag type
B.Uses only teevra Ma and never Sa
C.Can only be performed on tabla solo
D.Has exactly 5 matras in every tala used with it
Explanation: Shuddha (shudh) ragas are treated as pure/independent forms, contrasted with chhayalag and sankeerna (mixed) types in traditional classification.

About the PSEB SS Music Instrumental Practice Questions

Verified exam format metadata for Punjab School Education Board (PSEB) Senior Secondary Music (Instrumental) (Class 12 — subject code 037) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.