Write Thekas (Jhaptala/Sultala; Ektala/Chautala) in Thah/Dugun/Chaugun MCQs Quiz | Class 10

Understanding Thekas and Layakari in Hindustani Music

In Hindustani Classical Music, a ‘Theka’ is the fundamental rhythmic cycle played on percussion instruments, primarily the Tabla or Pakhawaj. It serves as the framework for any composition, providing a specific number of beats (matras) and divisions (vibhags), along with a unique sequence of percussion syllables (bols). ‘Layakari’ refers to the various rhythmic permutations and speeds at which a theka can be rendered, adding depth and complexity to a performance.

Key Thekas for Percussion Instruments

Understanding the structure and bols of common thekas is crucial for any percussionist. Here, we delve into four important thekas:

1. Jhaptala

• Matras: 10 beats
• Vibhags: 4 divisions (2-3-2-3 pattern)
• Tali (Clap): On Matras 1, 3, 8
• Khali (Wave): On Matra 6
• Bols: Dhi Na | Dhi Dhi Na | Ti Na | Dhi Dhi Na
• Characteristic: A medium-tempo tala, often used in classical and semi-classical forms.

2. Sultala

• Matras: 10 beats
• Vibhags: 5 divisions (2-2-2-2-2 pattern)
• Tali (Clap): On Matras 1, 3, 5, 9
• Khali (Wave): On Matra 7
• Bols: Dha Dha | Dhi Dhi | Ta Ta | Dhi Dhi | Na Na
• Characteristic: A lesser-known but beautiful tala, offering a distinct rhythmic feel.

3. Ektala

• Matras: 12 beats
• Vibhags: 6 divisions (2-2-2-2-2-2 pattern)
• Tali (Clap): On Matras 1, 5, 9
• Khali (Wave): On Matras 3, 7, 11
• Bols: Dhin Dhin | Dhage Tirkit | Tu Na | Kat Ta | Dhage Tirkit | Dhi Na
• Characteristic: A versatile tala, commonly used for slow (Vilambit) and medium (Madhya) tempo compositions, adaptable to both Tabla and Pakhawaj.

4. Chautala

• Matras: 12 beats
• Vibhags: 6 divisions (2-2-2-2-2-2 pattern)
• Tali (Clap): On Matras 1, 5, 9, 11
• Khali (Wave): On Matras 3, 7
• Bols: Dha Dha | Dhin Ta | Tirkit Dha | Dhin Na | Tit Kat | Gadi Ghan
• Characteristic: A majestic and powerful tala, traditionally played on Pakhawaj. It is primarily used for Dhrupad compositions and typically performed in a slow tempo.

Understanding Layakari Levels: Thah, Dugun, Chaugun

Layakari involves playing the same rhythmic cycle at different speeds. The primary levels are:

• Thah (Single Speed): This is the fundamental, original speed of the theka, where each bol typically corresponds to one matra (beat). It serves as the base for all other layakaris.
• Dugun (Double Speed): In Dugun, two bols are played in the duration of one original matra. This effectively doubles the tempo of the theka compared to Thah. Notation-wise, bols are often grouped in pairs within a single matra space.
• Chaugun (Quadruple Speed): Chaugun involves playing four bols in the duration of one original matra, making it four times faster than Thah. Bols are grouped in fours within a single matra space in notation.

Summary of Thekas and Layakari

Here’s a quick reference table summarizing the structural aspects of the discussed thekas:

Quick Revision

• Theka: Rhythmic cycle, defines structure and bols.
• Layakari: Speed variations of a theka.
• Thah: Single speed, 1 bol per matra.
• Dugun: Double speed, 2 bols per matra.
• Chaugun: Quadruple speed, 4 bols per matra.
• Jhaptala: 10 matras, 4 vibhags (2-3-2-3).
• Sultala: 10 matras, 5 vibhags (2-2-2-2-2).
• Ektala: 12 matras, 6 vibhags, versatile.
• Chautala: 12 matras, 6 vibhags, Pakhawaj, Dhrupad.

Practice Questions

Test your understanding further with these additional questions (answers not provided):

• Describe how the Bols of Chautala would be notated in Chaugun Layakari for the first two Matras.
• Compare and contrast the Tali-Khali patterns of Jhaptala and Sultala.
• Explain the significance of Khali in a Theka.
• If a rhythmic phrase takes 4 Matras in Thah, how many Matras would it take in Dugun, assuming the overall composition’s tempo remains consistent?
• Identify a musical form where Ektala is commonly used for Vilambit compositions, and briefly explain why.