Bedamdar Tihai (Teentala/Aditala) MCQs Quiz | Class 9
This quiz is for Class 9 students studying Hindustani Music Percussion Instruments (Code 036). It covers the Practical unit, focusing on the topic of performing one Bedamdar Tihai in Teental or Aditala. Test your knowledge on this fundamental rhythmic composition. After submitting, you can review your answers and download a PDF of the answer sheet.
Understanding Bedamdar Tihai in Teental/Aditala
A Tihai is a fundamental and exciting rhythmic composition in Hindustani classical music. It consists of a rhythmic phrase repeated three times, with the final note landing precisely on the ‘Sam’ (the first beat) of the next rhythmic cycle (avartan). The Bedamdar Tihai is a special type of tihai that adds a unique flavour of continuity and momentum.
Key Concepts of Bedamdar Tihai
- Tihai: A rhythmic pattern (palla) repeated three times, culminating on the Sam. It’s used to conclude a section or an entire performance.
- Palla: The main phrase or compositional part of the Tihai.
- Dam: This term means ‘breath’ or ‘pause’. In a standard ‘Damdar’ Tihai, there is a small, calculated pause between each of the three pallas.
- Bedamdar: The prefix ‘Be-‘ means ‘without’. Therefore, a ‘Bedamdar’ Tihai is one performed ‘without breath’ or ‘without pause’. The three pallas are played back-to-back in a continuous, unbroken flow.
- Sam: The first beat of any Tala (rhythmic cycle). It is the point of resolution and the most accented beat. The primary goal of a Tihai is to land perfectly on the Sam.
Structure and Calculation in Teental and Aditala
The beauty of a Tihai lies in its mathematical precision. The performer must calculate the exact starting beat (matra) for the Tihai to ensure its final ‘dha’ lands on the Sam.
Teental (16 Matras)
Teental is a 16-beat cycle, divided into four sections (vibhags) of 4 beats each. The structure is Tali (clap) – Tali – Khali (wave) – Tali. To construct a Bedamdar Tihai, the total length of the three pallas must fit within the taal structure to conclude on the 1st beat of the next cycle.
Example: If a palla is 5 matras long, the Bedamdar Tihai will be 5 + 5 + 5 = 15 matras long. To land on the Sam of the next avartan (which is the 17th beat), the Tihai must start from the 2nd matra of the current avartan (17 – 15 = 2).
Aditala (8 Matras)
Aditala, more common in Carnatic music but also used in Hindustani music, is an 8-beat cycle. Its structure is often divided into 4+2+2 or just four sections of 2 beats each. The principle of calculation remains the same: the total length of the Tihai must be calculated to land on the Sam.
Comparison: Damdar vs. Bedamdar Tihai
| Feature | Damdar Tihai | Bedamdar Tihai |
|---|---|---|
| Pauses (Dam) | Present between the three pallas. | Completely absent. |
| Rhythmic Feel | Has clear separation and resting points. | Continuous, flowing, and builds momentum. |
| Structure | (Palla + Dam) + (Palla + Dam) + Palla | Palla + Palla + Palla |
| Complexity | Requires precise timing of both the phrase and the pause. | Requires stamina and control to play continuously without rushing. |
Quick Revision Points
- The word ‘Bedamdar’ means ‘breathless’ or ‘without pause’.
- A Tihai is always a three-fold repetition of a rhythmic phrase (palla).
- The final beat of a Tihai must land on the ‘Sam’.
- Teental has 16 matras. Aditala has 8 matras.
- The main difference between Damdar and Bedamdar Tihai is the presence or absence of a pause (dam) between the pallas.
Practice Questions
- If a palla of a Bedamdar Tihai in Teental is 4 matras long, from which matra should it start to land on Sam?
- Describe the sonic difference a listener would perceive between a Damdar and a Bedamdar Tihai.
- Why is mathematical calculation crucial for performing any Tihai?
- What is the role of the ‘Khali’ vibhag in Teental?
- Can a Bedamdar Tihai be composed in other talas like Jhaptaal or Ektaal? Explain your reasoning.
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