Sollukattu Preparation & Playing: Triputa MCQs Quiz | Class 10

This quiz focuses on Class X Carnatic Music (Percussion) (Code 033), specifically Practical Unit II. It covers Sollukattu Preparation & Playing for Triputa tala varieties. Test your understanding by attempting these MCQs, then review your answers and download a detailed PDF.

Sollukattu Preparation & Playing: Triputa Tala Varieties

Introduction

Sollukattu, the rhythmic vocalization of percussion syllables, is a fundamental practice in Carnatic music, particularly for instruments like the Mridangam, Ghatam, and Kanjira. It serves as a blueprint for understanding, composing, and performing intricate rhythmic patterns (tala). This section delves into the preparation and playing of Sollukattu specifically for Triputa Tala, a versatile tala widely used in Carnatic compositions.

Understanding Triputa Tala

Triputa Tala is a principal tala in the Suladi Sapta Talas system. Its structure is defined by a Laghu (variable beats) followed by two Drutams (fixed 2 beats each). The total number of aksharas (matras) in Triputa Tala depends on the Jati (type) of the Laghu.
  • Structure: Laghu (L) + Drutam (D) + Drutam (D)
  • Laghu (L): Indicated by a beat and counting on fingers. Its duration varies with the Jati.
  • Drutam (D): Indicated by a beat and a wave. It always consists of 2 aksharas.

Jati Variations of Laghu and Total Aksharas in Triputa Tala:

Jati of Laghu Laghu Aksharas Drutam 1 Aksharas Drutam 2 Aksharas Total Aksharas
Tisra 3 2 2 7
Chatusra 4 2 2 8
Khanda 5 2 2 9
Misra 7 2 2 11
Sankeerna 9 2 2 13

What is Sollukattu?

Sollukattu involves reciting rhythmic phrases using specific percussion syllables (bols) such as “Ta,” “Dhi,” “Thom,” “Nam,” “Ka,” “Di,” “Ghum,” “Tha,” “Ki,” etc. It is a powerful tool for:
  • Conceptualization: Mentally structuring rhythmic ideas before playing.
  • Practice: Developing dexterity, clarity, and precision.
  • Composition: Creating new rhythmic patterns and variations.
  • Communication: Conveying rhythmic ideas to co-performers or students.

Preparing Sollukattu for Triputa Tala

  1. Understand the Tala Structure: Begin by internalizing the specific Jati Triputa Tala (e.g., Tisra Jati Triputa has 7 aksharas: Laghu (3) + Drutam (2) + Drutam (2)).
  2. Identify Akshara Slots: Mentally divide the tala cycle into its constituent aksharas. For Tisra Jati Triputa, visualize 7 distinct slots.
  3. Choose Syllables: Select appropriate percussion syllables (bols) that are suitable for the instrument and the desired rhythmic effect. Common choices are “Ta Di Thom Nam,” “Ta Ka Dhi Mi,” “Thom Nam,” “Dhi Tom,” etc.
  4. Frame the Pattern: Arrange the chosen syllables within the akshara slots, ensuring that the Sollukattu perfectly fits the tala cycle. The goal is to create a rhythmic phrase that clearly delineates the tala structure.
    • Example (Tisra Jati Triputa, 7 aksharas):
      • Laghu (3): “Ta Ka Dhi”
      • Drutam (2): “Thom Nam”
      • Drutam (2): “Ta Ka”
      • Full Sollukattu: “Ta Ka Dhi | Thom Nam | Ta Ka”

Playing Sollukattu for Triputa Tala

  1. Clarity (Spashtam): Each syllable must be articulated distinctly and cleanly, both vocally and when played on the instrument.
  2. Evenness (Samam): Maintain a consistent tempo (Laya) and ensure that all syllables are spaced evenly. Avoid rushing or dragging.
  3. Laya Adherence: Practice the Sollukattu at different speeds (vilambita, madhyama, druta kala – slow, medium, fast tempo) while strictly maintaining the tala cycle.
  4. Hand Gestures: Use traditional hand gestures (kriya) for the tala to visually guide your recitation and playing.
  5. Focus on Karvai: ‘Karvai’ refers to the sustained spaces or pauses within a rhythmic phrase. Understanding where to place silence or a sustained sound is crucial for rhythmic aesthetics and emphasis. For example, “Ta Ka | Dhi Thom | Nam (karvai)” uses a karvai.
  6. Expression: Beyond mere accuracy, infuse the Sollukattu with musicality and dynamic variation appropriate for the context.

Quick Revision

  • Sollukattu is the vocalization of percussion syllables for rhythmic practice and composition.
  • Triputa Tala = Laghu + Drutam + Drutam.
  • Jati of Laghu determines the total aksharas (7, 8, 9, 11, 13).
  • Preparation involves understanding tala, choosing bols, and framing patterns.
  • Playing requires clarity, evenness, Laya adherence, and thoughtful use of Karvai.

Further Practice Questions

  1. How many aksharas are there in Khanda Jati Triputa Tala?
  2. What is the primary purpose of reciting Sollukattu before playing it on a percussion instrument?
  3. Provide a simple Sollukattu example for Chatusra Jati Triputa Tala.
  4. Explain the term ‘Karvai’ in the context of Sollukattu playing.
  5. What are the two fixed components of any Triputa Tala?