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100+ Free PSEB SS Music Tabla Practice Questions

Punjab School Education Board (PSEB) Senior Secondary Music (Tabla) (Class 12 — Music Tabla, subject code 038) practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: PSEB SS Music Tabla Exam

038

PSEB Senior Secondary Music (Tabla) subject code

Punjab School Education Board Scheme of Studies Class XII

45 + 50 + 5

Theory + Practical + INA marks (total 100)

PSEB Scheme of Studies — Music (Tabla) code 038

33%

Minimum pass separately in Theory, Practical, and INA, and in aggregate

PSEB Scheme of Studies pass rules

6 prescribed taals

Rupak, Jhap, Ek, Deepchandi, Teen, Punjabi Theka with ekgun–chaugun

PSEB Class 12 Music Tabla syllabus Part-B 2025–26

4 biographies

Kanthe Maharaj, Shamta Prasad, Zakir Hussain, Laxman Singh Seen

PSEB Class 12 Music Tabla written syllabus Part-A

MCQ study aid

This bank adapts Tabla theory to four-option MCQs; official subject is mixed theory plus heavy practical

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

PSEB Senior Secondary Music Tabla is a Class 12 public-exam subject with Theory 45 + Practical 50 + INA 05 (code 038) and 33% pass separately in theory, practical, INA, and aggregate — not a pure MCQ board paper. This free 2026 bank is an English MCQ study adaptation for PSEB-aligned Class 12 Tabla theory (taals, bols, gharanas, biographies).

Sample PSEB SS Music Tabla Practice Questions

Try these sample questions to test your PSEB SS Music Tabla 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 Tabla theory, what is a tehai (tihai)?
A.A rhythmic phrase repeated three times so that its final stroke lands on sam
B.A free raga alap without any pulse
C.Only the wooden shell of the dayan drum
D.A Western time signature with three flats
Explanation: A tehai is a cadential device: the same bol phrase is played three times so the last stroke resolves on sam (the first beat of the cycle).
2What does the term uthan typically describe in Tabla solo vocabulary?
A.An opening flourish or introductory composition that establishes the solo and often ends with a tihai on sam
B.Only the empty space of khali with no strokes
C.A tuning hammer used on the gatta
D.A raga’s aroha–avroha scale outline
Explanation: Uthan is an opening/introductory Tabla piece that launches the presentation and commonly concludes with a tihai on sam.
3In classical Tabla solo practice, peshkar is best described as:
A.An opening thematic composition developed through variations before denser forms such as kayda and rela
B.A fixed light-music laggi used only in film songs
C.The metal syahi disc alone
D.A notation symbol for khali
Explanation: Peshkar (peshkara) opens a Tabla solo as an expandable theme; later sections often move into kayda, rela, tukra, and paran material.
4A paran in Tabla/pakhawaj repertoire is generally:
A.A powerful, often pakhawaj-influenced composed piece with open/resonant bols, frequently ending in a tihai
B.Only a single soft na stroke on the kinar
C.A raga’s time-of-day rule
D.The written name of the bayan’s goat-skin only
Explanation: Paran is a composed, forceful piece (historically linked with pakhawaj language) that commonly closes with a tihai on sam.
5What does rela typically emphasise compared with a slow kayda?
A.Fast, flowing, densely articulated bol streams suitable for speed and continuity
B.Only long silence without any bols
C.Exclusive use of melodic gamak on sitar
D.A complete absence of tala cycle
Explanation: Rela is a high-speed, flowing composition type with dense bol articulation, contrasting the more deliberate expansion style of many kaydas.
6In accompaniment contexts, nagma (lehra) refers to:
A.A repeating melodic cycle (often on harmonium or sarangi) that outlines the tala for the Tabla player
B.Only the syahi paste recipe
C.A type of pure silence between avartans
D.A Western brass fanfare
Explanation: Nagma/lehra is a cyclic melodic outline of the tala that supports Tabla solo or accompaniment by keeping the cycle clear.
7Duppali (do-palli) in layakari vocabulary most nearly means:
A.A two-fold (duplex) grouping or dual-layer presentation of bol material relative to the base pulse
B.Exactly sixteen empty beats with no strokes
C.Only the left-hand bayan drum name
D.A raga classification of morning melas
Explanation: Duppali refers to two-fold/duplex organisation of bols or phrases against the tala pulse—related to multi-layer layakari thinking.
8Tippali (ti-palli) in Tabla theory refers to:
A.A three-fold (triple) grouping or tripartite presentation of bol material within the rhythmic design
B.Only tuning the dayan to Pa
C.A dance mudra of Kathak alone
D.The metal ring called gajra
Explanation: Tippali indicates three-fold/triple organisation of phrases—part of the advanced layakari and composition vocabulary prescribed for Class 12 definitions.
9A kayda (kaida) is best defined as:
A.A thematic composition expanded systematically through variations (paltas) and typically resolved with a tihai
B.An unmetered free chant without tala
C.Only the written biography of a gharana founder
D.A pure melody without rhythm
Explanation: Kayda provides a theme that is developed through paltas (variations) and commonly ends with a tihai landing on sam.
10A tukra (tukda) in Tabla repertoire is:
A.A relatively short, fixed composition that typically ends with a tihai on sam
B.An endless free improvisation with no cadence
C.Only the Bhatkhande notation staff name
D.A melodic meend on sitar
Explanation: Tukra is a compact composed piece, often brilliant or showy, designed to finish with a tihai meeting sam.

About the PSEB SS Music Tabla Practice Questions

Verified exam format metadata for Punjab School Education Board (PSEB) Senior Secondary Music (Tabla) (Class 12 — Music Tabla, subject code 038) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.