Knowledge: Kayada/Rela + Paltas + Tihai + Tukra/Paran (Jhaptala/Sultala) MCQs Quiz | Class 9

Understanding Compositions in Jhaptal & Sultal

In Hindustani classical music, especially for percussion instruments like the Tabla, understanding different compositional forms and Talas (rhythmic cycles) is fundamental. This section provides a detailed explanation of the key concepts covered in the quiz, focusing on Jhaptal and Sultal.

Key Compositional Forms

• Kayada: A Kayada is a highly structured and expandable theme. It acts as a foundation from which a performer can improvise. A Kayada has a main theme (mukhda) which is then developed through variations called ‘Paltas’. It is characterized by a systematic exploration of specific ‘bols’ (syllables).
• Rela: A Rela is similar in structure to a Kayada but is played at a very high speed (drut laya). Its main purpose is to showcase the performer’s speed, clarity, and dexterity. The bols used in a Rela are often designed for rapid execution.
• Palta: Paltas are the variations or improvisations derived from the main theme of a Kayada. Each Palta explores a different permutation or combination of the bols presented in the Kayada, showcasing creativity within a set framework.
• Tihai: A Tihai is a rhythmic pattern or phrase that is repeated three times consecutively, typically ending on the ‘Sam’ (the first beat of the rhythmic cycle). It serves as a rhythmic cadence to conclude a section or an entire performance.
• Tukra: A Tukra is a short, fixed composition, usually of a few cycles of the tala. It is often played at a fast tempo and concludes with a powerful Tihai.
• Paran: Similar to a Tukra, a Paran is a powerful and bold composition. However, Parans are traditionally derived from the Pakhawaj (another percussion instrument) and use stronger, more open bols like ‘Dha’, ‘Kran’, ‘Taka’.

Understanding the Talas: Jhaptal and Sultal

Both Jhaptal and Sultal are 10-beat Talas, but they have distinct structures and feels.

Jhaptal (10 Matras)

Jhaptal is a very common and popular tala. Its structure is asymmetrical, which gives it a unique swing.

• Matras (Beats): 10
• Vibhag (Divisions): 4 divisions with a pattern of 2-3-2-3 matras.
• Taali (Clapped Beats): On the 1st, 3rd, and 8th matras.
• Khali (Empty Beat): On the 6th matra.

Sultal (10 Matras)

Sultal is a less common but powerful tala, often used in classical and semi-classical music. It has a symmetrical structure.

• Matras (Beats): 10
• Vibhag (Divisions): 5 divisions with a pattern of 2-2-2-2-2 matras.
• Taali (Clapped Beats): On the 1st, 5th, and 7th matras (in some traditions, on 1, 3, 5, 7, 9).
• Khali (Empty Beat): On the 3rd and 9th matras (in some traditions, on none).

Quick Revision Points

• A Kayada is a theme for improvisation.
• Paltas are the variations of a Kayada.
• A Rela is a fast-paced composition emphasizing speed.
• A Tihai is a phrase repeated three times to conclude.
• Jhaptal has a 2-3-2-3 division and Khali on the 6th beat.
• Sultal has five equal divisions of 2 beats each.
• Paran bols are powerful and often derived from Pakhawaj.

Practice Questions

1. Compose a simple Tihai in Jhaptal that lands on ‘Sam’.
2. Write the theka (basic pattern) of Sultal with its Taali and Khali markings.
3. What is the primary difference between a Kayada and a Tukra?
4. Explain why a Rela requires more practice for clarity at high speeds compared to a Kayada.
5. If a composition starts on the ‘Sam’ of Jhaptal and lasts for 25 matras, on which matra of which cycle will it end?