Write Kayada/Rela (Ektala/Chautala) MCQs Quiz | Class 10

Understanding Kayada, Rela, Ektala, and Chautala in Hindustani Music

This section provides an in-depth look into Kayada and Rela, fundamental compositional forms in Tabla playing, along with an explanation of two prominent talas, Ektala and Chautala, and their notation.

Kayada: The Foundation of Tabla Compositions

A Kayada is a fundamental compositional form in Tabla playing. It is a set of specific Bols (syllables) that are presented in a systematic and structured manner. The core characteristic of a Kayada is its capacity for expansion and variation (palta). Once a basic Kayada is established, a performer explores numerous variations while adhering to the original structure and Bols. This process helps in developing finger dexterity, understanding rhythmic patterns, and exploring the melodic potential within the Tabla Bols. Kayadas are typically played at a medium tempo and emphasize clarity and precision of Bols.

Rela: The Flowing Composition

Rela, meaning “flow” or “current,” is another significant compositional form. Unlike Kayada, Rela compositions are characterized by their fast tempo and a continuous, unbroken flow of Bols, often creating a showering or waterfall-like effect. Relas tend to use light and agile Bols, emphasizing speed and fluidity rather than elaborate structural variations. They are designed to showcase the virtuosity and quickness of the Tabla player, creating an exciting and dynamic rhythmic texture.

Ektala: The Twelve-Beat Cycle

Ektala is a popular tala (rhythmic cycle) in Hindustani classical music, consisting of 12 beats (matras). It is known for its graceful and even flow. The divisions (vibhags) of Ektala are 2-2-2-2-2-2, making it six vibhags of two matras each. The tala has specific points for Taali (clap) and Khali (empty beat), which are essential for its rhythmic structure.

• Matras: 12
• Vibhags: 6 (2+2+2+2+2+2)
• Taali: On 1st (Sam – X), 5th (2), 9th (3) matra
• Khali: On 3rd (0), 7th (0), 11th (0) matra

Chautala: The Twelve-Beat Majestic Tala

Chautala, also a 12-beat tala, is a majestic and robust tala, traditionally associated with Dhrupad singing. Its structure is quite distinct from Ektala. Chautala has six vibhags, with divisions of 2-2-2-2-2-2. Its Taali and Khali placements are usually the same as Ektala in modern notation, though historically and in performance, its character is more stately and uses different Bols.

• Matras: 12
• Vibhags: 6 (2+2+2+2+2+2)
• Taali: On 1st (Sam – X), 5th (2), 9th (3) matra
• Khali: On 3rd (0), 7th (0), 11th (0) matra

Note: While Ektala and Chautala both have 12 matras and 6 vibhags, the traditional performance practice and characteristic Bols associated with them can make them distinct. For the purpose of simplified notation understanding, the Taali/Khali markings often align.

Notation Writing for Compositions

Notation for Tabla compositions like Kayada and Rela within talas like Ektala and Chautala involves writing the Bols along with the respective matra numbers, vibhag markings, and Taali/Khali symbols. Each matra is represented sequentially. Taali is typically marked with a number (X for Sam, 2, 3, etc.), and Khali is marked with ‘0’. Understanding these symbols is crucial for reading and performing Tabla compositions accurately.

Quick Revision

• Kayada: Structured composition, systematic expansion (palta), medium tempo, emphasizes clarity.
• Rela: Fast tempo, continuous flow of Bols, emphasizes speed and fluidity, waterfall-like effect.
• Ektala: 12 beats, 6 vibhags (2-2-2-2-2-2), Taali on 1,5,9; Khali on 3,7,11.
• Chautala: 12 beats, 6 vibhags (2-2-2-2-2-2), Taali on 1,5,9; Khali on 3,7,11. (Majestic tala, traditionally for Dhrupad)
• Notation: Bols are written sequentially with matra numbers, vibhag lines, Taali (X, 2, 3…), and Khali (0) symbols.

Practice Questions

Test your knowledge further with these additional practice questions:

1. Describe the key differences in character and execution between a Kayada and a Rela composition.
2. Write the full notation (matras, vibhags, taali/khali) for one cycle of Ektala.
3. If a Kayada’s mukhda (theme) is “Dha Ge Na Dha Tin Na Ke Na”, how would you suggest two variations (paltas)?
4. What role do Khali (empty beats) play in defining the rhythmic structure and feel of a tala like Chautala?
5. Explain how the concept of ‘sum’ (sam) is pivotal in understanding and performing any tala composition.