Project File: Write Compositions in Notation MCQs Quiz | Class 9
This quiz is for Class IX students of Hindustani Music Percussion Instruments (Code 036) as part of the Internal Assessment unit. It covers important topics for your project file, including the notation of Kayada, rela, chakradar, tukra/paran, and farmaishi chakradar in prescribed talas. Attempt all questions to test your knowledge, then submit to see your score and download the answers in a PDF file.
Understanding Hindustani Percussion Compositions
In Hindustani classical music, percussion compositions are the backbone of a tabla or pakhawaj performance. Learning to write them in notation is a crucial skill for any student. This involves understanding both the structure of the composition and the symbols used in the notation system (like the Bhatkhande system). The main compositions you need to know are Kayada, Rela, Chakradar, Tukra, Paran, and their variations.
Key Compositions Explained
Understanding the structure and purpose of each composition is essential for writing them correctly in notation.
- Kayada: A Kayada is a theme-and-variations form. It starts with a main theme (Mukhda) which is then systematically expanded through variations (Paltas or Bal). A key rule is that the variations must use only the bols (syllables) present in the original theme. It typically concludes with a Tihai.
- Rela: A Rela is compositionally similar to a Kayada but is played at a very high speed (drut laya). The focus is on creating a continuous “stream of sound,” and it requires great clarity and dexterity.
- Tukra: A Tukra is a short, fixed composition, usually lasting one or two cycles of a tala. It is characterized by its compact structure and always ends with a Tihai that lands on the ‘Sam’ (the first beat).
- Paran: A Paran is a powerful composition that uses strong, open bols, many of which are derived from the Pakhawaj (a barrel-shaped drum). Unlike Kayadas, Parans are fixed and not meant for expansion.
- Chakradar: This is a complex form where a rhythmic phrase, which itself contains a Tihai, is repeated three times in succession. The final beat of the third repetition lands perfectly on ‘Sam’. It’s a highly mathematical and impressive composition.
- Farmaishi Chakradar: A ‘Farmaishi’ or ‘on-request’ Chakradar is a special type where the structure is designed to fulfill a specific, often difficult, rhythmic challenge. For example, the Tihai of the Chakradar might be designed to land on Sam after a specific number of beats or in a particular pattern requested by the audience or main artist.
Basic Notation Symbols (Bhatkhande System)
To write these compositions, you must be familiar with the standard notation symbols used for talas.
| Symbol | Name | Meaning |
|---|---|---|
| X | Sam | The first and most stressed beat of a Tala cycle. |
| 0 | Khali | The “empty” beat, often indicated by a wave of the hand. |
| 2, 3, 4… | Tali | Clapped beats that mark the divisions (vibhag) of a Tala. |
| S | Avagraha | A rest or pause, extending the duration of the previous bol. |
Quick Revision Points
- Kayada: Theme + Variations. Uses only bols from the theme.
- Rela: A very fast Kayada. Focus on speed and clarity.
- Tukra: Short, fixed piece with a Tihai.
- Paran: Fixed piece with strong, open bols (from Pakhawaj).
- Chakradar: A rhythmic pattern repeated three times to land on Sam.
- Notation is key: ‘X’ is Sam, ‘0’ is Khali.
Practice Questions
- Describe the main structural difference between a Kayada and a Paran.
- How is a Tihai constructed and what is its purpose in a composition like a Tukra?
- If you are writing a composition in Jhaptal (10 beats), where would you place the ‘X’, ‘2’, ‘0’, and ‘3’ symbols?
- Explain the concept of ‘improvisation within rules’ as it applies to a Kayada.
- Why is a Chakradar considered a mathematically complex composition?
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