Tukra/Paran (Sultala) MCQs Quiz | Class 9
This is a multiple-choice quiz for Class IX students of Hindustani Music Percussion Instruments (Code 036). This quiz is from the Unit: Practical and focuses on the topic: One tukra or paran in sultala. Please attempt all questions and click ‘Submit Quiz’ to see your score. You can download a PDF of your answers after completing the quiz.
Understanding Tukra and Paran in Sultala
In Hindustani classical music, especially in the realm of percussion, compositions like Tukra and Paran are fundamental elements that showcase a performer’s skill, creativity, and command over rhythm. When set to a specific tala like Sultala, they offer a unique rhythmic challenge and aesthetic. This section provides a detailed explanation for students.
What is Sultala?
Sultala is a rhythmic cycle (tala) of 10 matras (beats). Its structure is essential for understanding any composition set within it.
- Matras (Beats): 10
- Vibhag (Divisions): 5 divisions of 2 matras each (2+2+2+2+2).
- Taali (Clapped Beats): On the 1st, 5th, and 7th matras.
- Khali (Empty Beat): On the 3rd and 9th matras.
| Matra | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
|---|---|---|---|---|---|---|---|---|---|---|
| Bol | Dha | Dhin | Na | Kat | Dha | Dhin | Dha | Ge | Tin | Na |
| Taali/Khali | Taali (X) | Khali (0) | Taali (2) | Taali (3) | Khali (0) |
Tukra: The “Piece”
The word ‘Tukra’ literally means ‘a piece’ or ‘a bit’. It is a short, fixed composition played on the tabla. A key characteristic of a Tukra is that it always concludes with a Tihai.
- Structure: It starts with a main body of rhythmic phrases (bols) and culminates in a Tihai.
- Tihai: A Tihai is a rhythmic phrase repeated three times, with the last beat of the third repetition landing precisely on the ‘Sam’ (the first beat) of the next rhythmic cycle.
- Character: Tukras are generally graceful and intricate, showcasing the beauty of tabla bols.
Paran: The Powerful Composition
A ‘Paran’ is another type of fixed composition, but it has its origins in the pakhawaj, a barrel-shaped, two-headed drum. When adapted for the tabla, a Paran retains its powerful and robust character.
- Origin: Pakhawaj. This is why its bols (strokes) are often more open, resonant, and forceful (e.g., using bols like Dha, Ge, Na, Dhum, Kit).
- Character: More forceful, majestic, and less intricate than a Tukra. It has a bolder, more declarative feel.
- Structure: Like a Tukra, a Paran also ends with a Tihai that resolves on the ‘Sam’.
Key Differences: Tukra vs. Paran
- Instrumental Origin: Tukra is native to the tabla, while Paran is an adaptation from the pakhawaj.
- Bol Characteristics: Tukra bols are often lighter and more intricate (e.g., ‘Tirakita’, ‘Dha Ti’). Paran bols are heavier and more open (e.g., ‘Dhumakita’, ‘Gheganaga’).
- Aesthetic Feel: Tukras are often described as beautiful and ornate, while Parans are powerful and majestic.
Quick Revision Points
- Sultala: 10 matras, 5 vibhags of 2 matras each.
- Khali in Sultala: On the 3rd and 9th matras.
- Tukra: A short tabla composition ending in a Tihai.
- Paran: A powerful, pakhawaj-style composition, also ending in a Tihai.
- Tihai: A phrase repeated three times, landing on ‘Sam’. This is a common feature for both Tukra and Paran.
Practice Questions
- Describe the full structure of Sultala, including its matras, vibhags, taali, and khali.
- What is the primary structural difference between the main body of a composition and its Tihai?
- Why are the bols of a Paran generally considered more “open” than those of a Tukra?
- Compose a simple one-line Tihai that could theoretically fit in Sultala.
- Explain the importance of the ‘Sam’ in the context of concluding a Tukra or Paran.
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