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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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 26PERCUSSIVE NOTES 57 JULY 2014
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)
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 36
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 46PERCUSSIVE NOTES 59 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 56PERCUSSIVE NOTES 60 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 66PERCUSSIVE NOTES 61 JULY 2014
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 26PERCUSSIVE NOTES 57 JULY 2014
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)
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 36
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 46PERCUSSIVE NOTES 59 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 56PERCUSSIVE NOTES 60 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 66PERCUSSIVE NOTES 61 JULY 2014
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 36
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 46PERCUSSIVE NOTES 59 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 56PERCUSSIVE NOTES 60 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 66PERCUSSIVE NOTES 61 JULY 2014
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 46PERCUSSIVE NOTES 59 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 56PERCUSSIVE NOTES 60 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 66PERCUSSIVE NOTES 61 JULY 2014
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 56PERCUSSIVE NOTES 60 JULY 2014
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
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 66PERCUSSIVE NOTES 61 JULY 2014
8102019 Tihai Rudiments
httpslidepdfcomreaderfulltihai-rudiments 66PERCUSSIVE NOTES 61 JULY 2014