Tihai: Difference between revisions
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The '''''tihai''''' (pronounced |
The '''''tihai''''' (pronounced ti-'ha-yi) is a [[polyrhythmic]] technique used in [[Indian classical music]] often used to conclude a piece. |
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The basic format of the tihai is 3 equal repetitions of a rhythmic or melodic pattern, usually interspersed with 2 equal rests, calculated to fall on a significant point in the tala most often the |
The basic format of the ''tihai'' is 3 equal repetitions of a rhythmic or melodic pattern, usually interspersed with 2 equal rests, calculated to fall on a significant point in the tala most often the ''sum'' (pronounced like "some") or first beat. The other most common ending point of a ''tihai'' is the beginning of the gat or bandish often several beats before the ''sum''. |
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Typically a tihai is used as a rhythmic cadence that marks the end of a melody or rhythmic composition creating a transition to another section of the music. Tihais can be |
Typically a ''tihai'' is used as a rhythmic cadence that marks the end of a melody or rhythmic composition creating a transition to another section of the music. Tihais can be sung or played on an instrument, both. |
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If the phrase is sixteen beats long, the outline of a tihai might look like: 4 2 4 2 4. Each "4" represents a pattern that is four beats long and each "2" represents a rest that is two beats long (4+2+4+2+4=16). The start of the next phrase is exactly on the downbeat. Another example is a 2 5 2 5 2 in a sixteen beat phrase. Two beats of rhythm with five beats of rest between. |
If the phrase is sixteen beats long, the outline of a tihai might look like: 4 2 4 2 4. Each "4" represents a pattern that is four beats long and each "2" represents a rest that is two beats long (4+2+4+2+4=16). The start of the next phrase is exactly on the downbeat. Another example is a 2 5 2 5 2 in a sixteen beat phrase. Two beats of rhythm with five beats of rest between. |
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In a 10 beat taal, such as Jhaptaal, the tihai may be structured as 6 1 6 1 6 1 ( |
In a 10 beat ''taal'', such as Jhaptaal, the ''tihai'' may be structured as 6 1 6 1 6 1 (this last beat falling on the ''sum''). |
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More complicated patterns may be formulated. For example, for the 16 beat |
More complicated patterns may be formulated. For example, for the 16 beat Teentaal, a ''tihai'' of ''tihais'' may be formed. This is known as the ''chakradhar tihai'', which is a ''tihai'' within a ''tihai''. One structure may be implemented as: 4 1 1 1 4 1 1 1 4 1 1 1 rest 4 1 1 1 4 1 1 1 4 1 1 1 rest 4 1 1 1 4 1 1 1 4 1 1 1, where the last '1' lands on the ''sum''. In terms of a possible composition: ''dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha'' S (silent, rest) ''dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha'' S (silent, rest) ''dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha''. The last 'dha' being the ''sum''. |
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If the 3 groupings are played with 2 groupings of rests, which are equally long, then the tihai is called 'dumdaar', otherwise, if there are no rests between the 3 groupings, then the tihai is called 'bedumdaar' or simply 'bedum'. |
If the 3 groupings are played with 2 groupings of rests, which are equally long, then the tihai is called '''dumdaar''', otherwise, if there are no rests between the 3 groupings, then the tihai is called '''bedumdaar''' or simply '''bedum'''. |
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Sometimes, |
Sometimes, a pattern is played on the tabla that is almost identical to a ''tihai'' except for the fact that it ends on the beat just before the ''sum''. Such patterns are known as '''anagat'''. |
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==References== |
==References== |
Revision as of 14:07, 24 February 2012
This article needs additional citations for verification. (May 2007) |
The tihai (pronounced ti-'ha-yi) is a polyrhythmic technique used in Indian classical music often used to conclude a piece.
The basic format of the tihai is 3 equal repetitions of a rhythmic or melodic pattern, usually interspersed with 2 equal rests, calculated to fall on a significant point in the tala most often the sum (pronounced like "some") or first beat. The other most common ending point of a tihai is the beginning of the gat or bandish often several beats before the sum.
Typically a tihai is used as a rhythmic cadence that marks the end of a melody or rhythmic composition creating a transition to another section of the music. Tihais can be sung or played on an instrument, both.
If the phrase is sixteen beats long, the outline of a tihai might look like: 4 2 4 2 4. Each "4" represents a pattern that is four beats long and each "2" represents a rest that is two beats long (4+2+4+2+4=16). The start of the next phrase is exactly on the downbeat. Another example is a 2 5 2 5 2 in a sixteen beat phrase. Two beats of rhythm with five beats of rest between.
In a 10 beat taal, such as Jhaptaal, the tihai may be structured as 6 1 6 1 6 1 (this last beat falling on the sum).
More complicated patterns may be formulated. For example, for the 16 beat Teentaal, a tihai of tihais may be formed. This is known as the chakradhar tihai, which is a tihai within a tihai. One structure may be implemented as: 4 1 1 1 4 1 1 1 4 1 1 1 rest 4 1 1 1 4 1 1 1 4 1 1 1 rest 4 1 1 1 4 1 1 1 4 1 1 1, where the last '1' lands on the sum. In terms of a possible composition: dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha S (silent, rest) dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha S (silent, rest) dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha. The last 'dha' being the sum.
If the 3 groupings are played with 2 groupings of rests, which are equally long, then the tihai is called dumdaar, otherwise, if there are no rests between the 3 groupings, then the tihai is called bedumdaar or simply bedum.
Sometimes, a pattern is played on the tabla that is almost identical to a tihai except for the fact that it ends on the beat just before the sum. Such patterns are known as anagat.