tihai rudiments

8102019 Tihai Rudiments

httpslidepdfcomreaderfulltihai-rudiments 16PERCUSSIVE NOTES 56 JULY 2014

In the tintal notation below the 991260+991261 (clap o the hand) marks the first

our-beat group the 9912602991261 marks the second clapgroup the 991260o991261 (outward

wave) marks the third and 9912603991261 (clap) marks the ourth intal literallymeans 991260three claps991261

Tintal bols

+ dha dhin dhin dha

2 dha dhin dhin dha

o dha tin tin ta

3 ta dhin dhin dha

Tabla TihaiTe ollowing eight tihai (composed by Shanta Prasad George Ruck-

ert Jerry Leake and John Bergamo arranged by Ruckert and Leake) are

built using 991260tete kata gadi gina dha991261 ihai 1 occupies one cycle whereas

all others occupy multiple cycles Always end strong on beat 1 with 991260dha991261

to link to the next tintal cycle Te sequence or our arrangement istintal tihai 1 tintal tihai 2 tintal tihai 3 etc When you are comortable

with each tihai reer to video 2 to speak the entire arrangement

Tihai RudimentsBy Jerry Leake

T

his article explores the traditional language and context o North

Indian abla ihai (tee-hi) with an equal goal o adapting the

unique tihai ormulae to playing snare drum rudimentsAll drummers know that rudiments are the building blocks or devel-

oping strong technique creatively assimilated to drumset Buddy Rich

or example was a grand master o incorporating rudiments into play-

ing jazz Rudiments are typically one- or two-beat phrases that alternate

strong and weak hand positions the Wilcoxin and Whaley books arrange

them into concise and challenging marches However not much new

innovation has occurred to alleviate (some o) the tedium when playing

rudiments as isolated drills

Beore exploring tihai inspiration we first need some context on In-

dian music

PART I NORTH INDIAN CONTEXTNorth Indian Tabla

Te pair o drums called tabla evolved rom the more ancient 991260pakha-waj991261 drum used or accompanying Dhrupad vocal music All pakhawaj

compositions are easily adapted to the more 991260modern991261 tabla and the tihai

we will explore are derived rom this ancient lineage At this time there is

no specific need to understand how spoken syllables are applied to play-

ing pakhawaj or tabla Our purpose is to use the vocal language to build

tihai phrases and interpretations

North Indian Tihai 991260ihai991261 literally means 991260one-third991261 (13) It is a type o rhythm cadence

that typically concludes compositions or improvisations on melodic and

percussion instruments In basic terms a tihai is a phrase that is played

three times with the final stroke landing on a strong beat usually beat

1 o a given rhythm cycle However tihai can be calculated to begin and

end on any beat depending upon their application ihai can be veryshort (mukhra tihai) or extremely long spanning many rhythm cycles o

a minute or more (chakradhar tihai)

Te theory and application o tihai is too vast to comprehensively dis-

cuss in this article there are numerous sources you can use to dig deeper

For now we will ocus on a specific collection o tihai built using the

same set o tabla syllables (called bols)

Tabla Bols

Te tihai we will interpret are derived rom nine tabla bols

bull Te first pair o bols is spoken with the tip o the tongue at the top

o the mouth 991260te te991261 Te first 991260te991261 sounds like 991260tent991261 and the second 991260te991261

sounds like 991260tay991261 Repeat 991260te te991261 (991260tent tay991261) many times

bull Te second pair is spoken more in the jaw 991260ka ta991261 Repeat then com-

bine with 991260te te991261 our times each pair 991260te te991261 (4X) 991260ka ta991261 (4X)bull Te third pair is spoken in the throat using the hard 991260g991261 sound 991260ga

di991261 Repeat and combine our times each 991260te te ka ta ga di991261

bull Te ourth spoken pair is elt in the gut 991260gi na991261 Repeat 991260ga di gi na991261

and combine all our times each 991260te te ka ta ga di gi na991261bull Te final syllable to end the series is 991260dha991261 Emphasize the 991260h991261 in your

recitation avoid saying 991260da991261

Te complete bol series rendered in different parts o the body (as i

digesting the phrase) is 991260te te ka ta ga di gi na dha991261

Tintal Cycle

Tese nine tabla bols will be used to build tihai in the 16-beat rhythm

cycle called 991260tintal991261 (think our bars o 44) Each tihai will begin rom

beat 1 called sum (+) Each will also end on sum o the next cycle intal

(the groove) should always be spoken between each tihai connecting

them as one composition

See videos of examples performed by Jerry Leake in the digital edition of this issue

at wwwpasorgpublicationspercussivenotesnotesonline_copy1aspx

VIDEO



Tihai 4 (2 cycles)

Tihai 5 (4 cycles)

Tihai 6 (4 cycles)

Tihai 1 (1 cycle)

o save space and isolate each tihai I have eliminated tintal beore and

afer each tihai always begin and end with tintal Te underlined 991260te te991261

marks the beginning o each tihai (13) segment

Tihai 2 (3 cycles)

Tihai 3 (4 cycles)


httpslidepdfcomreaderfulltihai-rudiments 36



Exploring Other Rudiments

Below is a list o the standard rudiments (alternating strong to weak

hand) that work well or playing each tihai Experiment with your own

approaches and orchestrations to drumset

1 single paraddidle (shown in Example 4)

2 flam paradiddle

3 ruff paradiddle (non-standard)

4 9-stroke roll

5 flam tapaccent (modiy sixteenths to triplets)

6 double ratamacue

For this article it is not possible to notate each tihai using all rudimentoptions

Reer to Video 5

Tintal Adaptaon

Our goal is to combine the tihai as an extended arrangement with

tintal spoken and played between each I you are using a practice pad

and ankle bells (encouraged) you can play tintal with all 991260dha991261 and 991260ta991261

syllables with the weak hand on the pad (991260snare991261) All 991260dhin991261 and 991260tin991261

syllables are played on the side o the pad or contrast (991260cymbal991261) Video

Link 6 (discussed below) incorporates tintal on snare drum and bass

drum

Tihai 2ndash6 as Paradiddle

Following are tihai 2ndash6 notated using single paradiddles with 991260ta ka dimi991261 syllables the oot playing hal notes Reer to Video 6

Example 5 Tihai 2

Example 6 Tihai 3

Example 7 Tihai 4

Example 8 Tihai 5



Example 9 Tihai 6

Reer to Part I o this article to adapt ihai 7 and 8

CONCLUSION

As drummers we love solving unusual rhythm puzzles rom any inspi-

ration By breaking down the traditional context and language o North

Indian tihai taking small steps to get inside a deep concept our under-

standing and application will become easier the puzzle gradually solved

In this article I have only scratched the surace o possibil ities it is or

you to dig deeper and pioneer new and exciting approaches

Jerry Leake is an Associate Proessor o Percussion at Berklee College

o Music and the New England Conservatory He leads the world-rock-

usion octet Cubist (cubistbandcom) which perorms compositions

rom his 2010 acclaimed Cubist CD Jerry has just released his third Cub-ist CD Prominence where Arican songs and melodies are woven into

tight world-rock-usion designs Jerry is coounder o the world-music

ensemble Natraj and perorms with Club d991257El and the Agbekor Society

Jerry has written eight widely used texts on North and South Indian

West Arican Latin American percussion and advanced rhythm theory

(Rhombuspublishingcom) Jerry is also ormer president o the Mas-

sachusetts PAS Chapter and was a presenter o his 991260Harmonic ime991261

concept at a 2011 EDx Seminar in Cambridge Mass PN





Tihai 4 (2 cycles)

Tihai 5 (4 cycles)

Tihai 6 (4 cycles)

Tihai 1 (1 cycle)

o save space and isolate each tihai I have eliminated tintal beore and

afer each tihai always begin and end with tintal Te underlined 991260te te991261

marks the beginning o each tihai (13) segment

Tihai 2 (3 cycles)

Tihai 3 (4 cycles)










2 flam paradiddle


4 9-stroke roll


6 double ratamacue


Reer to Video 5

Tintal Adaptaon







drum



Example 5 Tihai 2

Example 6 Tihai 3

Example 7 Tihai 4

Example 8 Tihai 5



Example 9 Tihai 6


CONCLUSION





























2 flam paradiddle


4 9-stroke roll


6 double ratamacue


Reer to Video 5

Tintal Adaptaon







drum



Example 5 Tihai 2

Example 6 Tihai 3

Example 7 Tihai 4

Example 8 Tihai 5



Example 9 Tihai 6


CONCLUSION






















Example 9 Tihai 6


CONCLUSION




















tihai rudiments

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