• Peshkar 1 (Tihai), composer:Traditional type: Tihai, tala: Tintal, jati: Catasra, baj: Delhi, source: Austin, complexity: 7
    This Tihāī has a remarkable structure: it uses the first 28 Mātrā-s of the main Peśkār, then a short phrase of 1+(2.5) matra-s is added three times, while the last aiming point lasts 2 Matras. Total [28+[1+2.5]x2+[1+2]]x3 [-2]

 

Peshkar 1 - Tihai

x             2             0             3            
Dha - - Kre Dha   Ti   Dha - Te Re Ki Te Dha - Ti   Dha   Dha   Ti   Dha   Dha   Dhin   Na  
- - - Kre Dha   Ti   Dha - Te Re Ki Te Dha Ti - - Dha Ti Dha   Ti   Dha   Dha   Tin   Na  
Ta - - Kre Ta   Ti   Ta - Te Re Ki Te Ta - Ti   Ta   Ta   Ti   Ta   Ta   Tin   Na  
- - - Kre Dha   Ti   Dha - Te Re Ki Te Dha Ti Dha   Ti   Dha   -   -   -   -   Dha  
Ti   Dha   -   -   -   -   Dha   Ti   Dha   -   -   -   start_2nd      

 

This Tihāī has a remarkable structure: it uses the first 28 Mātrā-s of the main Peśkār, then a short phrase of 1+(2.5) matra-s is added three times, while the last aiming point lasts 2 Matras. Total [28+[1+2.5]x2+[1+2]]x3 [-2]

 

Relevant dictionary terms

  • पेशकार Peśkāra Πεσhκάρ [IN] Στο σολιστικό ρεπερτόριο των κρουστών, είδος αυτοσχέδιας σύνθεσης που σημαίνει "παρουσίαση" και η οποία ακολουθεί το Uţhāna και συνίσταται σε παραλλαγές του βασικού συνοδευτικού προτύπου (Ţhekā).
  • तिहाई Tihāī Τιχάαι, Τιχάι [IN] Καταληκτική δομή σειράς αυτοσχεδιασμών, που συνίσταται στην εμφάνιση μιας ρυθμικής φράσης τρεις φορές.
  • तीनताल Tīntāla Τίιντααλ [IN] Δημοφιλής, Tāla (μετρικός κύκλος) των 16 Mātrā. Οι περισσότερες ασκήσεις και συνθέσεις στα πρώτα χρόνια μαθητείας είναι σε Tīntāla.

Relevant multimedia

Anand Mishra playing morning Raga Gurjarī Tori
Extract from sitariya Anand Mishra's performance of Rāga Gurjarī Toďī, at his graduation exams, Faculty of Performing Arts, BHU, 25/03/2009. This is the final part of the Nibaddha (rhythmic, accompanied by percussion) section, which ends with a Jhālā Tihāī. The composition (Gat) is characteristic of the Masīdkhanī style.
Principles for improvising the indian way

A video presenting some basic structural elements of Hindusthani Classical Music, focusing on a Masīdkhanī-type composition on Rāga Ahir Bhairava. The following features are presented:

  • a main composition (Bandish) [comprising of 3 parts: Sthāyī, Uccāla 1 & Uccāla 2),
  • some exemplary elementary improvisational phrases (Tāna-s),
  • the ways of moving back and forth to and from each part, by adjusting the Mukhaďā

Be in touch, for upcoming interactive version, in which the user will be able to loop parts, in order for him to study thoroughly. This video tutorial is mostly addressed to Greek and Western musicians wishing to get a glimpse of the principles undelying the improvisational practices of the Classical music of Northern India.

Pt. Bhimsen Joshi performing Rāga Bhairavī

Ακούγεται και Sāraņgī, αλλά δεν φαίνεται ο εκτελεστής.

Smt. Reshma Srivastava & Pt. Ram Kumar Mishra. Raag Kirwani (Drut Tintal)

 

Smt. Reshma Srivastava developing evening melody Rāga Kirwani. Tablā accompaniment by Pt. Ram Kumar Mishra. Rhytmic cycle is Drut (fast) Tīntāla (16 Mātrā-s).

Concert held at Parga, Greece, 7 June 2012. Video recording & processing by Sakis Laios.

 

Smt. Reshma Srivastava & Pt. Ram Kumar Mishra. Raag Kirwani (Vilambit Tintal)

Smt. Reshma Srivastava developing evening melody Rāga Kirwani. Tablā accompaniment by Pt. Ram Kumar Mishra. Rhytmic cycle is Vilambita Tīntāla (16 Mātrā-s).

Concert held at Parga, Greece, 7 June 2012. Video recording & processing by Sakis Laios.