Write Chakradar Tukra / Chakradar Paran (Teentala/Aditala) MCQs Quiz | Class 9

This quiz is for Class 9 students studying Hindustani Music Percussion Instruments (Code 036), Unit 5. It covers the topic of writing Chakradar Tukra and Chakradar Paran in the tala-notation system for Teentala and Aditala. Test your knowledge by attempting all the questions, then click ‘Submit Quiz’ to see your score and download a PDF of your answers.

Understanding Chakradar Compositions in Hindustani Music

Chakradar compositions are a fascinating and complex part of Hindustani classical music, especially in percussion. They showcase a musician’s command over rhythm (Laya) and mathematical precision. A ‘Chakradar’ is essentially a rhythmic composition that is repeated three times in its entirety, with the final beat landing perfectly on the ‘Sam’ (the first beat) of the next rhythmic cycle (Tala).

Key Components of Chakradar Compositions

  • Tihai: The soul of many rhythmic compositions. A Tihai is a phrase or a set of bols (syllables) that is repeated three times. There are usually two equal-length pauses (dam) between the repetitions. The third and final repetition concludes on a significant beat, most often the Sam.
  • Chakradar Structure: The core idea is the threefold repetition. You take a whole composition (like a Tukra or Paran), which itself contains a Tihai, and you play this entire block three times. This creates a highly intricate and cyclical pattern that resolves beautifully on the Sam.
  • Tukra vs. Paran:
    • Tukra: Generally a shorter, lighter composition often associated with the Tabla. The bols (syllables) used are typically more delicate.
    • Paran: A more powerful and robust composition traditionally associated with the Pakhawaj. Parans use forceful, open-sounding bols (e.g., Dha, Ge, Na, Tin, Ka).

Understanding the Talas: Teentala and Aditala

To write or understand a Chakradar, one must first master the Tala in which it is set. The prompt mentions Teentala and Aditala.

Feature Teentala Aditala
Total Matras (Beats) 16 8
Vibhags (Divisions) 4 divisions of 4 matras each (4+4+4+4) 2 divisions of 4 matras each (4+4)
Tali (Clapped beats) On the 1st, 5th, and 13th matras On the 1st and 5th matras
Khali (Empty beat) On the 9th matra On the 3rd and 7th matras (in one common representation)
Notation Symbols X (Sam), 2, 0 (Khali), 3 X (Sam), 0, 2, 0 (as per one notation style)

Writing in Tala-Notation System (Bhatkhande System)

When writing these compositions, the Bhatkhande notation system is commonly used. Bols are written under their corresponding matra numbers. The vibhags are separated by vertical bars (|), and the Tali/Khali symbols are placed at the beginning of each vibhag. For example, a simple phrase ‘Dha Dhin Dhin Dha’ in the first vibhag of Teentala would be written with ‘X’ below the first ‘Dha’.

A key skill is calculating the starting point of the composition so that after its three repetitions, it ends on the Sam. This requires understanding the length of the composition and the total matras in the tala cycle.

Quick Revision Points

  • A Chakradar composition is a pattern repeated three times.
  • A Tihai is a phrase repeated three times, typically ending on Sam.
  • Parans are heavy compositions from the Pakhawaj style, while Tukras are lighter and associated with Tabla.
  • Teentala has 16 matras, with a 4-4-4-4 structure.
  • Aditala has 8 matras, often with a 4-4 structure.
  • The Sam is the most important beat, marking the beginning of the cycle.

Practice Questions

  1. Draft a simple Tihai using the bol ‘Dha’ that is 9 matras long.
  2. If a composition is 5 matras long, and you want to make a Chakradar out of it in Teentala (16 matras), from which matra should you start?
  3. Write down the Tali and Khali pattern for two avartans (cycles) of Teentala.
  4. What is the function of ‘dam’ or a pause within a Tihai?
  5. Why is the Pakhawaj associated with ‘Paran’ compositions?