Tihai
''Tihai'' (pronounced ti-'ha-yi) is a polyrhythmic technique found in Indian classical music, and often used to conclude a piece. Tihais can be either sung or played on an instrument. Tihais are sometimes used to distort the listeners’ perception of time, only to reveal the consistent underlying cycle at the sam. Definition Tihai is the repetition of specific group of BOL or BEATS by three times. Usage Typically, a ''tihai'' is used as a rhythmic cadence, i.e., a rhythmic variation that marks the end of a melody or rhythmic composition, creating a transition to another section of the music. Structure The basic internal format of the ''tihai'' is three equal repetitions of a rhythmic pattern (or rhythmo-melodic pattern), interspersed with 2 (usually) equal rests. The ending point of the ''tihai'' is calculated to fall on a significant point in the rhythmic cycle (called '' tala''), most often the first beat (called '' sum'' and pronounced "some"). The other most co ...
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Polyrhythmic
Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern. In western art music In some European art music, polyrhythm periodically contradicts the prevailing meter. For example, in Mozart's opera ''Don Giovanni'', two orchestras are heard playing toge ...
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Indian Classical Music
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music known as '' Hindustani'' and the South Indian expression known as '' Carnatic''. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient ''Natyashastra'', the classic Sanskrit text on performing arts by Bharata Muni., Quote: "The tradition of Indian classical music and dance known as ''Sangeeta'' is fundamentally rooted in the sonic and musical dimensions of the Vedas (Sama veda), Upanishad ...
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Tala (music)
A tala (IAST ''tāla'') literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with ''raga'' which forms the fabric of a melodic structure, the ''tala'' forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. ''Tala'' is an ancient music concept traceable to Vedic era texts of Hinduism, such as the ''Samaveda'' and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the ''raga'' and ''tala'' systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rule of ...
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Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, wi ...
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Gat (music)
Bandish, cheez or gat is a fixed, melodic composition in Hindustani vocal or instrumental music. It is set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhawaj, a steady drone, and melodic accompaniment by a sarangi, violin or harmonium. There are different ways of systematizing the parts of a composition. A bandish provides the literature element in the music, for standard structured singing. In the past many gharanas protected their bandishes from moving out of the family with gross incoherent vocal renditions. In the realm of vocal music, it is often known as ''cheez''. Etymology The word ''bandish'' is derived from the Hindi language Hindi (Devanāgarī: or , ), or more precisely Modern Standard Hindi (Devanagari: ), is an Indo-Aryan language spoken chiefly in the Hindi Belt region encompassing parts of northern, central, eastern, and western India. Hindi has been ..., and literally means "binding together". Sections '' Sthāyī'' or ...
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Bandish
Bandish, cheez or gat is a fixed, melodic composition in Hindustani vocal or instrumental music. It is set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhawaj, a steady drone, and melodic accompaniment by a sarangi, violin or harmonium. There are different ways of systematizing the parts of a composition. A bandish provides the literature element in the music, for standard structured singing. In the past many gharanas protected their bandishes from moving out of the family with gross incoherent vocal renditions. In the realm of vocal music, it is often known as ''cheez''. Etymology The word ''bandish'' is derived from the Hindi language Hindi (Devanāgarī: or , ), or more precisely Modern Standard Hindi (Devanagari: ), is an Indo-Aryan language spoken chiefly in the Hindi Belt region encompassing parts of northern, central, eastern, and western India. Hindi has been ..., and literally means "binding together". Sections '' Sthāyī'' ...
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Teental
Teentaal (alternatively spelled tintal, teental, or tintaal, and also called trital; Hindi: तीन ताल) is the most common '' taal'' of Hindustani Classical Music, and is used for ''drut'' (fast tempo). It is symmetrical and presents a very simple rhythmic structure against which a performance can be laid. It is played on the Tabla as well as on other percussion instruments. Arrangement Teentaal has sixteen (16) beats in four equal divisions (Vibhag). The period between every two beats is equal. The first beat out of 16 beats is called ''sam'' and the 9th beat is called ''khali'' ('empty'). To count the Teentaal, the audience claps on the first beat, claps on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps (Hindi ''teen'' 'three' + ''taal'' 'clap') give the rhythm its name. Uses Teentaal can be used for both accompaniment and solo. There are various Kaidas and Parans based on it. Teentaal is the most widely used taal. ...
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Jhaptaal
Jhaptal is a tala of Hindustani music. It presents quite a different rhythmical structure from Teental, unlike which it is not symmetrical. It is used in madhyalay (medium-tempo) Khyal. Arrangement Jhaptal is a 10-beat pattern used in raga exposition. It has ten beats in four divisions (vibhag), of 2-3-2-3, the third of which is the khali, or open division. To follow the tal the audience clap on the appropriate beat, which in jhaptal is beats 1, 3 and 8 (the first beat in each full division). A wave of the hand indicates beat 6, the first beat of the khali section. Series of Claps and Waves: clap, 2, clap, 2, 3, wave, 2, clap, 2, 3 Theka The split for Jhaptaal : 2+3+2+3 che 4. In Devanagari : धी ना - धी धी ना -- ती ना - धी धी ना . It has a characteristic pattern of bols Bols may refer to: * Bol (music), an element of Indian rhythm * Lucas Bols, a Dutch distilling company * Bols (brand) Bols is a brand name used by Lucas Bols, a Dut ...
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Chakradhar Tihai
Chakradhar means holder of Chakra that is Vishnu. It may refer to: People * Ashok Chakradhar (born 1951), Hindi author and poet * Chakradhar Swami, Indian philosopher, Founder of Mahanubhava Sect in Vaishnavism * Chakradhar Satapathy (died 2006), former MLA of the Patakura assembly constituency * Chakri (composer) (born as Chakradhar, 1974–2014), Indian music composer and singer * Chakradhar Singh (1905–1947), ruler of Raigarh princely state in India * Chakradhar Gogoi, Indian politician Places * Chakradhar (archaeological site), in Jammu & Kashmir, India See also * Chakradharpur Chakradharpur is a city in West Singhbhum district in the state of Jharkhand, India. It is the railway divisional headquarters of Chakradharpur (CKP) division of the South Eastern Railway. The city stands at an elevation of 227 metres (745 f ...