Kayada/Rela + 4 Paltas + Tihai (Teentala/Aditala) MCQs Quiz | Class 9

Understanding Kayada, Rela, Palta, and Tihai

In Hindustani classical music, particularly for percussion instruments like the Tabla, compositions are built using specific structures. Understanding these structures is fundamental for any student. This section breaks down the key concepts covered in the quiz: Kayada, Rela, Palta, and Tihai, primarily within the context of Teental.

1. Kayada ( कायदा )

The word ‘Kayada’ means ‘rule’ or ‘a systematic pattern’. It is a structured and expandable composition that serves as a theme. A Kayada has a specific set of bols (strokes) that are first presented in their basic form. The main purpose of a Kayada is to establish a rhythmic idea and then explore its possibilities through variations.

• Structure: It typically has two parts. The first part often ends on the ‘khali’ (the unstressed beat), and the second part resolves on the ‘sam’ (the first beat of the cycle).
• Expansion: A Kayada is always followed by its variations, called ‘Paltas’.
• Example Bols: “Dha Dha Ti Ta | Dha Dha Tu Na | Ta Ta Ti Ta | Dha Dha Dhi Na” is a common Kayada theme.

2. Rela ( रेला )

The word ‘Rela’ means ‘a rush’ or ‘a flood’. As the name suggests, a Rela is a fast-paced composition. It is similar to a Kayada in structure (theme and variations) but is played at a much higher speed (drut laya). Relas are characterized by the use of lighter, faster bols that create a flowing, continuous sound.

• Tempo: Always played in a fast tempo (Drut Laya).
• Bols: Uses bols that can be played rapidly, like “Dha-ge-na”, “Ti-ra-ki-ta”, “Dhi-ni-na-ka”.
• Purpose: To showcase speed, clarity, and stamina.

3. Palta ( पल्टा )

‘Palta’ means ‘turn’ or ‘variation’. Paltas are the systematic variations or expansions of a Kayada or a Rela. After presenting the main theme (mukhda) of the Kayada, the player develops it through different combinations of the same bols. Practicing paltas is crucial for developing creativity and control over the instrument.

• Function: To explore the rhythmic and melodic possibilities of the main theme.
• Rule: Paltas must use only the bols present in the original Kayada theme.
• Example: If the Kayada has “Dha Dha Ti Ta”, a palta might be “Dha Dha Ti Ta Ti Ta Dha Dha”.

4. Tihai ( तिहाई )

A ‘Tihai’ is a rhythmic phrase or pattern that is repeated three times consecutively. It is a cadential pattern used to conclude a rhythmic section or an entire performance. A well-constructed Tihai creates a sense of tension and release, resolving perfectly on the ‘sam’ (the first beat of the next rhythmic cycle).

• Structure: (Phrase + Gap) + (Phrase + Gap) + (Phrase). The last bol of the third repetition lands on ‘sam’.
• Types: Can be ‘Damdar’ (with a pause between repetitions) or ‘Bedam’ (without a pause).
• Example: “Dha Dha Dha” (pause) “Dha Dha Dha” (pause) “Dha Dha Dha” -> ending on sam. This is a simple Tihai.

Talas: Teental and Aditala

These compositions are set within a ‘Tala’ or rhythmic cycle.

Quick Revision Points

• Kayada: The “theme”. A rule-based composition that is expanded.
• Rela: The “fast theme”. Similar to a Kayada but played in drut laya.
• Palta: The “variations”. Expansions of the Kayada or Rela.
• Tihai: The “conclusion”. A phrase repeated three times to end on ‘sam’.
• Teental: The most common 16-beat cycle in Hindustani music.

Practice Questions

1. Compose a simple Kayada of 8 beats using the bols Dha, Ti, Ta, and Na.
2. Explain the main difference in feeling and execution between a Kayada and a Rela.
3. If a Tihai is made of the phrase “Dha Ge Ti Ta”, write out the full Tihai structure.
4. What is the significance of the ‘sam’ in any Tala?
5. Create two simple Paltas for the Kayada theme: “Dha Ti Dha Ge Na Dha Ti Na”.