Dumdar Tihai

In this example the expression DhaGeTiRaKiTaTaKaDha is repeated three times with a pause in between. This form may be generalized by the formula:

3P + 2D = nL+1

 

where:
n = number of beats (matra) to resolve
L = layakari (i.e., single time, double time, etc.)
P = number of strokes in pala (phrase)
D = number of units in pause (same tempo as pala)

If we apply the above formula to the example in figure 8 we see the following relationships.

There are several constants in this formula. The "3" represents the basic triadic structure of the tihai, and the "2" represents the two pauses between the phrases. Again the "1" represents the resolution on the first beat of the next cycle. DhaGaTiRaKiTaTaKaDha yields a P=9. Remember that the dum (pause) must be normalized to the same layakari as the phrase (pala); therefore the last Dha is actually "Dha - - -", and the quarter note" -" becomes "- - - -". Therefore the value of the pause(dum) is 7. An easy way to think of it is that one is normalizing this composition so that the 16th note becomes the fundamental unit. Since this normalization required a four-to-one shift, our L=4. The entire tihai resolves in one cycle of jhaptal, therefore n=10. We get 3(9)+2(7)=(10)(4)+1. We see that this formula describe the situation quite adequately.

It should be noted that the pause or dum need not actually be a rest. It is quite common for bols to be thrown in to fill up the gap. The inclusion of bols in the dum is done for purely artistic reasons and has no theoretical significance.

There are a number of terms which are used with tihai. Occasionally the expression sankirna tihai or sampurna tihai is encountered. These terms deal with the usage of bols in the resolution of a kaida. If the entire theme of the kaida is used it is called sampurna tihai. Conversely, if only part of the theme is present, or if the theme is present in some altered form, the tihai will be called sankirna tihai.

We have seen that the tihai is the most important structure for the north Indian cadenza. Most of the cadenzas have a tihai in them at some level. Essentially, the tihai is the repetition of a phrase three times. The last stroke of the last iteration should correspond to the first beat of the following cycle. The phrases may be contiguous (bedum) or they may be separated by a space (dumdar). On occasion, terms such as atit (end after sam), anagat (end before sam), sampurna (full theme) or sankirna (fragmented theme) are encountered.

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