Two Kayadas/Relas (Jhaptala/Sultala) MCQs Quiz | Class 10

Understanding Kayadas and Relas in Hindustani Percussion

Kayadas and Relas are fundamental rhythmic compositions in Hindustani classical music, especially for percussion instruments like the tabla. They are essential for developing virtuosity, control, and improvisational skills. Mastering these forms allows a percussionist to explore the rhythmic possibilities within various taals.

Key Concepts:

1. Kayada:
   • Definition: A Kayada (meaning ‘rule’ or ‘system’) is a type of compositional form in tabla playing based on a short, characteristic theme (mukhra or theka) made of specific bols (syllables).
   • Structure: It follows a systematic development. The initial theme is expanded through various ‘Paltas’ (variations or permutations) while strictly adhering to the original Kayada’s bols.
   • Purpose: Kayadas are crucial for developing clarity of bols, control over tempo (laya), and understanding the architecture of rhythmic development. They emphasize precision and systematic exploration.
   • Example Bols: Often uses bols like ‘Dha’, ‘Dhin’, ‘Tin’, ‘Na’, ‘Ta’, ‘Ti’.
2. Rela:
   • Definition: A Rela (meaning ‘flow’ or ‘torrent’) is a fast and continuous rhythmic composition. Unlike Kayadas, which focus on systematic variation, Relas emphasize speed, fluidity, and a relentless onward motion.
   • Structure: Relas are typically played in Drut Laya (fast tempo) and are characterized by a continuous stream of bols. While they may have some variations, the primary focus is on the rapid execution of the theme.
   • Purpose: Relas are designed to showcase the percussionist’s speed, stamina, and ability to produce clear bols at high tempos. They create an exciting and dynamic feel.
   • Example Bols: Often involves repetitive and fast-paced bols like ‘Dhir Dhir’, ‘Ghe Na Ga’.

Exploring Jhaptala and Sultala:

These two taals are excellent frameworks for practicing Kayadas and Relas, each with a distinct rhythmic cycle.

1. Jhaptala (10 Matras):
   • Structure: Jhaptala is a 10-beat cycle divided into four unequal sections (vibhags): 2 | 3 | 2 | 3.
   • Taali (Clap) / Khali (Wave): The sam (1st beat) is a clap, the 3rd beat is a clap, the 6th beat is a khali (wave), and the 8th beat is a clap.
   • Common Theka Bols: Dhi Na | Dhi Dhi Na | Ti Na | Dhi Dhi Na
   • Application: Kayadas and Relas in Jhaptala require careful phrasing to fit the asymmetrical vibhag structure, helping develop a nuanced sense of rhythm.
2. Sultala (10 Matras):
   • Structure: Sultala is also a 10-beat cycle, divided into five sections (vibhags): 2 | 2 | 2 | 2 | 2.
   • Taali / Khali: The sam (1st beat) is a clap, the 3rd beat is a khali (wave), the 5th beat is a clap, the 8th beat is a khali (wave), and the 10th beat is a clap.
   • Common Theka Bols: Dha Dha | Din Din | Dha Dha | Tin Tin | Ta Ta
   • Application: The distinct vibhag structure of Sultala presents a unique challenge for composing and playing Kayadas and Relas, contrasting with other common rhythmic patterns.

Comparison Table: Jhaptala vs. Sultala

Quick Revision:

• Kayada: Thematic development, systematic variations (Paltas), emphasis on clarity and precision.
• Rela: Fast, continuous, fluid patterns, emphasis on speed and execution.
• Jhaptala: 10 beats, 2-3-2-3 vibhags, distinctive asymmetrical feel.
• Sultala: 10 beats, 2-2-2-2-2 vibhags, steady, structured pattern.
• Both are vital for rhythmic mastery and improvisational ability in percussion.