Tihai
Encyclopedia
The tihai 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 som 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 som.
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 played and sung by every instrument in Indian music.
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 tiahis may be formed. This is known as the Chakradhar tihai, a composition of tihais. 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 taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha S (silent, rest) dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha S (silent, rest) dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita 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'.
Sometimes, patterns are played on the tabla that are 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'.
Indian classical music
The origins of Indian classical music can be found in the Vedas, which are the oldest scriptures in the Hindu tradition. Indian classical music has also been significantly influenced by, or syncretised with, Indian folk music and Persian music. The Samaveda, one of the four Vedas, describes 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 som 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 som.
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 played and sung by every instrument in Indian music.
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 tiahis may be formed. This is known as the Chakradhar tihai, a composition of tihais. 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 taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha S (silent, rest) dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha S (silent, rest) dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita taktirakita 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'.
Sometimes, patterns are played on the tabla that are 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'.