You are treasure Kuljit. Self taught, home pleasure, fusion drumset player. That's where I zm vkmjng from. Reheading my dayan today as it snows. I forgot what a workout this is!
never imagined being an indian though ,,,,,,,some day would get to learn or rather proper understanding of the indian taals by a foreigner like you .......nicely explained thanks.......!!!!!!!!!!!
Actually, I'm an East African Punjabi living in London - some people here would also call me a foreigner!!! Either way, I'm glad that you found it useful. Regards Kuljit
Awesome information. In western music, it's known as hemiola, or playing against the meter. As a drum set percussionist, I constantly use phrases like this when soloing, especially phrases of 3, 5, or 7 beats, against a 4/4 time signature.
Yes, I think that's the best way of describing it (and its function) to western musicians. Perhaps also to emphasise that in Indian music, it is always a three part pattern, and always lands on the downbeat. Thank you for your interest and contribution to this. Kuljit
The Konnakol and Bol system of verbalising rhythms is certainly useful if you can speak an Indian language. Otherwise, it can be difficult and present a barrier get down to actually learning and playing.
Are there any examples of a Tihai in counts of 5/7/11, and so on? Or would those be counted in 2+3, 2+2+3? I'm just wondering because I've heard specific Indian musicians counting in 2s and 3s, but sometimes counting rests that last longer than an even division. I can imagine that Tihai allows for extreme complexity on its own, and counting it in higher numbers probably is not necessary due to the complexity of resting/subdivisions, but I was just wondering.
I find that it certainly helps to keep the subdivisions short when studying/memorising tihais. However, writing them down can also help considerably. As you correctly point out, rests can be in whole beats or fractions of beats. Given that the purpose of this is to create a sense of tension and release, it's important that the audience (and musicians) don't get 'too' lost otherwise the charm and excitement would one diluted go missing altogether. I plan to post more Thai examples in the future. Thank you for commenting. Kuljit
Is this safe to say the tihai is a little bit like a polyrythm, with the instrumentalist playing the standard time signature but the tabla player playing in another time signature, with them finally coinciding on a downbeat at the end of a specific cycle?
Hello, yes that's certainly one way of putting it. However, the tabla player isn't really 'thinking' of another time signature - more likely, thinking of a suitable tihai phrase that fits with the current time signature and tempo - and also when to start it so that it will coincide with the downbeat of the melodic cycle when it ends. In Indian traditional recitals, the Tihai phrase MUST be repeated 3 times only - no more and no less. Thanks for contributing! Kuljit
@@kedamusicltd4365 Hello Kuljit, many thanks for personally replying to my question. Indian tabla players must have some extraordinary mathematical brain! I can't imagine being able to come up with a tihai on the spot without doing my homework before the performance with regards to what to play and on which beat to start it on! Also fantastic series! I started playing the sarod a month ago and your videos helped me get understand the basics of Indian music better. Thank you.
All I want to know is this: why does Indian classical music not play chords? I understand that their rhythms are sophisticated, etc., but the melody is always played note after note- never, several notes at once ( chords ). Therefore, although Indian music moves me by its moods, scales, etc., it is never lush; soaring as in an orchestra. Never any trace of harmony of voices. Why is it so, when all cultures have the same 7 notes, that Indian music never plays chords?
You are treasure Kuljit. Self taught, home pleasure, fusion drumset player. That's where I zm vkmjng from. Reheading my dayan today as it snows. I forgot what a workout this is!
Very encouraging, especially the remarks on the Enjoyment Route! Thank you.
Would you like a cup of tea?.....Great!
never imagined being an indian though ,,,,,,,some day would get to learn or rather proper understanding of the indian taals by a foreigner like you .......nicely explained thanks.......!!!!!!!!!!!
Actually, I'm an East African Punjabi living in London - some people here would also call me a foreigner!!! Either way, I'm glad that you found it useful. Regards Kuljit
Here comes the sun.
Awesome information. In western music, it's known as hemiola, or playing against the meter. As a drum set percussionist, I constantly use phrases like this when soloing, especially phrases of 3, 5, or 7 beats, against a 4/4 time signature.
Yes, I think that's the best way of describing it (and its function) to western musicians. Perhaps also to emphasise that in Indian music, it is always a three part pattern, and always lands on the downbeat. Thank you for your interest and contribution to this. Kuljit
Is it better to study konnakol to understand? Thnx, great lesson.
The Konnakol and Bol system of verbalising rhythms is certainly useful if you can speak an Indian language. Otherwise, it can be difficult and present a barrier get down to actually learning and playing.
This was interesting 🏅
Thank you for this video !
Please make a video on the concept of Uthaan also. 😊 😊
Are there any examples of a Tihai in counts of 5/7/11, and so on? Or would those be counted in 2+3, 2+2+3? I'm just wondering because I've heard specific Indian musicians counting in 2s and 3s, but sometimes counting rests that last longer than an even division. I can imagine that Tihai allows for extreme complexity on its own, and counting it in higher numbers probably is not necessary due to the complexity of resting/subdivisions, but I was just wondering.
I find that it certainly helps to keep the subdivisions short when studying/memorising tihais. However, writing them down can also help considerably. As you correctly point out, rests can be in whole beats or fractions of beats.
Given that the purpose of this is to create a sense of tension and release, it's important that the audience (and musicians) don't get 'too' lost otherwise the charm and excitement would one diluted go missing altogether. I plan to post more Thai examples in the future. Thank you for commenting. Kuljit
@@kedamusicltd4365 matur suksma
great video!!!!
Thank you!!
Thanks! So well explained
You're welcome! Kuljit
Is this safe to say the tihai is a little bit like a polyrythm, with the instrumentalist playing the standard time signature but the tabla player playing in another time signature, with them finally coinciding on a downbeat at the end of a specific cycle?
Hello, yes that's certainly one way of putting it. However, the tabla player isn't really 'thinking' of another time signature - more likely, thinking of a suitable tihai phrase that fits with the current time signature and tempo - and also when to start it so that it will coincide with the downbeat of the melodic cycle when it ends. In Indian traditional recitals, the Tihai phrase MUST be repeated 3 times only - no more and no less. Thanks for contributing! Kuljit
@@kedamusicltd4365 Hello Kuljit, many thanks for personally replying to my question. Indian tabla players must have some extraordinary mathematical brain! I can't imagine being able to come up with a tihai on the spot without doing my homework before the performance with regards to what to play and on which beat to start it on!
Also fantastic series! I started playing the sarod a month ago and your videos helped me get understand the basics of Indian music better. Thank you.
@@danyjr Thank you! Good to hear that you're playing sarod! best wishes
All I want to know is this: why does Indian classical music not play chords? I understand that their rhythms are sophisticated, etc., but the melody is always played note after note- never, several notes at once ( chords ). Therefore, although Indian music moves me by its moods, scales, etc., it is never lush; soaring as in an orchestra. Never any trace of harmony of voices. Why is it so, when all cultures have the same 7 notes, that Indian music never plays chords?
Sir your videos are informative. Wud like to ask you, how can I get a tabla from you for my use! If u hv contact nbr pls gv me.
Thank you. I don't sell acoustic tabla unfortunately, but can recommend some sellers. Please email me Kuljit@keda.co.uk