Knowledge: Kayada/Rela + Tihai + Sadharan Tukra/Paran + Chakradar + Mukhara + Damdar Tihai (Teentala/Aditala) MCQs Quiz | Class 9
This is a multiple-choice quiz for Class 9, Subject: Hindustani Music Percussion Instruments (Code 036), Unit: Exam Focus. It covers key assessment categories for Teentala and Aditala, including Kayada, Rela, Tihai, Sadharan Tukra/Paran, Chakradar, Mukhara, and Damdar Tihai. Answer all questions, submit your quiz, and download the PDF answer sheet to review your performance.
Understanding Percussion Compositions in Teentala/Aditala
In Hindustani classical music, percussion instruments like the Tabla play a crucial role, not just in keeping time but also in presenting complex and beautiful compositions. These compositions, known as ‘bandishes’, are built using specific structures and patterns. Understanding these forms is essential for both performers and listeners. This section covers the key compositional types you need to know for Teentala and Aditala.
Key Compositional Forms
- Kayada: A Kayada is a highly structured and expandable composition. It starts with a main theme (mukh) and is then developed through variations called ‘paltas’. The beauty of a Kayada lies in its systematic expansion and the strict rules it follows. It’s like a theme and variations in Western music, but for percussion.
- Rela: A Rela is similar to a Kayada in its structure but is characterized by its high speed and flowing, continuous sound. The bols (syllables) used in a Rela are often designed to be played rapidly, creating a “rushing” or “flowing” effect.
- Tihai: A Tihai is a rhythmic pattern that is played three times in a row, concluding on the ‘sam’ (the first beat of the rhythmic cycle). It is a powerful device used to create tension and resolution, often marking the end of a section or an entire performance.
- Sadharan Tukra/Paran: A Tukra is a short, fixed composition, usually played at a medium to fast tempo. A Paran is similar but typically uses stronger, more resonant bols derived from the Pakhawaj (another Indian drum). Both are non-expandable compositions.
- Chakradar: A Chakradar is a complex composition that consists of a Tihai which is itself repeated three times. So, a pattern is played three times to form a Tihai, and this entire Tihai is then played three times to form a Chakradar. It is a highly intricate and impressive structure.
- Mukhara: A Mukhara is a short, attractive rhythmic phrase or piece, typically a few matras (beats) long, that leads to the ‘sam’. It serves as a small, introductory flourish before returning to the main groove or concluding a variation.
- Damdar Tihai vs. Bedam Tihai: A ‘Damdar Tihai’ has a pause (‘dam’ meaning breath or pause) between each of the three repetitions of the phrase. A ‘Bedam Tihai’ has no pause (‘be-dam’ meaning breathless), with the three repetitions played back-to-back.
Comparison of Rhythmic Cycles: Teentala and Aditala
While the compositional forms are common, they are set to different rhythmic cycles (Talas). Teentala is prominent in North Indian (Hindustani) music, while Aditala is central to South Indian (Carnatic) music.
| Feature | Teentala | Aditala |
|---|---|---|
| Total Matras (Beats) | 16 | 8 |
| Divisions (Vibhags) | 4 divisions of 4 matras each (4+4+4+4) | 3 divisions (1 Laghu + 2 Dhrutams) |
| Structure | Taali, Taali, Khaali, Taali | Laghu (4 beats) + Dhrutam (2 beats) + Dhrutam (2 beats) |
| ‘Sam’ (First Beat) | Clap (Taali) | Clap (part of Laghu) |
| ‘Khaali’ (Empty Beat) | On the 9th matra (wave of the hand) | Not explicitly present in the same way |
Quick Revision Points
- Kayada: Expandable theme with variations (paltas).
- Rela: Fast, flowing, continuous sound.
- Tihai: A phrase repeated three times, ending on ‘sam’.
- Chakradar: A Tihai repeated three times.
- Mukhara: A short phrase leading to ‘sam’.
- Damdar Tihai: A Tihai with pauses between its repetitions.
- Teentala: 16 beats, 4|4|4|4 structure.
Extra Practice Questions
- Describe the difference between a Kayada and a Tukra in terms of structure and expandability.
- If a rhythmic phrase is 5 matras long, how many matras would a simple Tihai made from this phrase occupy in Teentala?
- Explain the role of ‘Khaali’ in Teentala.
- What are ‘paltas’ in the context of a Kayada?
- Compose a simple Tihai using the bols ‘Dha Dha Tin Na’ that lands on the ‘sam’ of Teentala.
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