| Drum Compositions |
| When the drummer solos, particularly
a tablā artist, s/he has a number of different kinds
forms. For example, a peśkār [\peshkAr\ Persian-Hindustani
"initial legal presentation" "a court official"] is a type of introductory
solo which begins simply and builds in intensity. Another kind of introductory
drum solo is the uthān. These commonly are short compositions
which "rise" (uthanā, "to rise") to beat one. |
| A kāydā or qā'ida [Persian-Hindustani "rule"] is
a composition which shows the shape of the tāl and thekā and serves as the basis for a number of other subcompositions / extemporizations.
These include both the dohrā [Persian-Hindustani "two-fold,"
"compound," or "couplet"], a variation of a rhythmic musical idea (such
as a kāydā) in which sections of the original theme repeat,
and the paltā [\palTA\ Hindustani "a turn" or "an exchange"],
a variation (often a dohrā) of a rhythmic musical idea manipulating
individual strokes or groups of strokes. |
| In performance, musicians
mark cadences with a tihā'ī [\tihA'I\ Hindustani
"a third portion"; Urdu tihāra: a division into three parts]
a pattern having three identical parts with the impetus of the third section
aimed at the sam (first mātrā) of the tāl. |
| Drum solos conclude with a tihā'ī, often in a very elaborate fashion. The cakradār paran or cakradār tihā'ī [Hindi: cakra = "wheel"], sometimes called a nawahakka tihā'ī [Urdu: "nine-fold"], is a cadential pattern having three parts each of
which being a tihā'ī with the last tihā'ī aimed at the sam. |
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Section
|
Āvartas
|
Description
|
| mohrā |
1 |
The rhythmic
intensity increases over the first three vibhāgs and culminates
with a tihā'ī. |
| thekā |
2 |
Inam
Ali plays an elaborated thekā that introduces ideas that
will appear in the following section. |
| peśkār |
6 |
This
classic introductory composition is based on the strokes "dhi
kr dhin dhā, dhā tet dhā dhā" and develops these
in different subdivisions of the beat and intensities. |
| thekā |
1 |
Inam
Ali returns to the time-keeping pattern and prepares for the next part
of the composition. |
| qā'ida |
6 |
The first
core composition is based on the pattern, "dhāge tirakita,
tetekra dhitete" in both barābar and ār
lay (duple and triplet subdivisions). The second and third cycles
twist the composition with paltās. The fifth introduces a dohrā (in which sections repeat). And the sixth ends with
a tihā'ī. |
| thekā |
2 |
Return
to the time-keeping pattern |
| qā'ida |
6 |
He returns
to the "dhage tirakita" qā'ida and again
plays with beat subdivisions and the speed of the strokes. Variations
include a dohrā in the third cycle and variations, ending
with a tiha'i. |
| thekā |
1 |
Return
to the time-keeping pattern |
| qā'ida |
18 |
The "dha
ti dhage na dha tirakita" qā'ida is one of the
most famous in the Delhi gharāna's repertoire and many sources
attribute it to Sudhar Khan Dhari. The principal variations in this section
are paltās. |
| tukrā |
2 |
A tukrā is a piece that concentrates on contrasts between on-the-beat passages
and syncopation. Most often, like mohrās, they end with a tihā'ī. |
| thekā |
7 |
Return
to the time-keeping pattern |
| cakradār
tihā'ī |
8 |
Composed
by Gamay Khan (1883-1958), this extended tihā'ī shifts
between ār and barābar lay.
Gameh Khan was Inam Ali's father. |
| thekā |
6 |
Return
to the time-keeping pattern |
| cakradār
tihā'ī |
8 |
Another
Gamay Khan composition, this introduces the stroke "dhire dhire." |
| thekā |
2 |
Return
to the time-keeping pattern |
| gat |
1 |
A tablā
gat is a carefully composed set piece that illustrates both simplicity
and beauty. This gat is by Nazir Ali Khan. |
