Mohra?

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Haturi
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Mohra?

Post by Haturi » Sun Aug 18, 2013 11:21 am

Could someone please describe and/or define Mohra, and how do you distinguish it from other composition types?

Thanks You

pbercker
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Re: Mohra?

Post by pbercker » Sun Aug 18, 2013 4:47 pm

Haturi wrote:Could someone please describe and/or define Mohra, and how do you distinguish it from other composition types?

Thanks You
Mohara
The literal meaning of mohara is the vanguard of an army (Kapoor no date). As such it represents a flourish culminating on sam. Mohara is defined primarily by function; partially by structure; and not at all by the bol. ... We may summarize mohara quite simply. It is a short composition, culminating in a tihai, which allows the tabla player to gently assert himself. Such an assertion is gentle enough that it may be considered as an emphasis rather than "trading off". It has a simple structure of a small body followed with a tihai.
You can find the rest of David Courtney's write-up along with an notated example, here ...

http://chandrakantha.com/tablasite/arti ... htm#Mohara

There's also something called a "mukhra" which, according to D. Courtney, has some similarities:
Mukhada
Theword mukhada literally means "face". It is defined by structure and function. Musically, mukhada functions to unobtrusively emphasize the sam. Structurally, it is a very short piece, usually no more than a few beats, which resolves upon the sam. Virtually any bol may be used. This rather vague definition gives rise to two different structural philosophies. The most common mukhada is nothing more than a mere "lick". It is a sudden increase in bol density for the few beats preceding the sam. At the sam, the bol density suddenly falls to the original level or in some cases below it. The function is to create a musical tension which is relaxed at sam. Figure 3 illustrates a simple mukhada in tintal. A less common style of mukhada is structurally more complex. This has the same structure as the mohara which will be discussed later.
http://chandrakantha.com/tablasite/arti ... tm#Mukhada

It's worth noting that some writers differ slightly in the following way:
Mohra is similar to Mukhra, differing only the in the selection of bols. Mukhra is composed of soft bols, while Mohra is composed of loud bols of pakhawaj. From "Learning Tabla", Pt. Homanath Upadhyaya, page 34.


Pascal
My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.

Haturi
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Joined: Sun Aug 18, 2013 11:14 am

Re: Mohra?

Post by Haturi » Tue Aug 20, 2013 12:55 am

Pascal thanks for the reply

That is interesting because I have heard compositions described as Mohra mostly without Tehai

On the other hand listen to this recording of Ustad Kerematullah khan and what is described as Mohra on this recording
http://www.folkways.si.edu/TrackDetails ... emid=16439
How is that not a Tukra?

My understanding is that Mohra is usually played within one cycle.
It doesn't have to have a tehai

Here is an example. This was I think composed by Ustad Alla Rakha Khansaheb
Dha ketetake tak Dha
Dha ketetake tak ketetake
terekete takta terekete dhati
Dhage na,Dha tidha gena
Dha


According to Saxenaji, a Mohra is 'a very small composition meant only to provide a beautiful and shapely access to the Sam'
'Mohra is commonly played before the actual theka' ...'the purpose here is simply to draw listeners attention to the chosen tal, invitingly'

According to Gottleib, Mohra fulfils the same function as Uthan, but is called Mohra in certain gharanas.

pbercker
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Location: st peters missouri

Re: Mohra?

Post by pbercker » Tue Aug 20, 2013 1:25 am

Haturi wrote:Pascal thanks for the reply

That is interesting because I have heard compositions described as Mohra mostly without Tehai

On the other hand listen to this recording of Ustad Kerematullah khan and what is described as Mohra on this recording
http://www.folkways.si.edu/TrackDetails ... emid=16439
How is that not a Tukra?

My understanding is that Mohra is usually played within one cycle.
It doesn't have to have a tehai

Here is an example. This was I think composed by Ustad Alla Rakha Khansaheb
Dha ketetake tak Dha
Dha ketetake tak ketetake
terekete takta terekete dhati
Dhage na,Dha tidha gena
Dha


According to Saxenaji, a Mohra is 'a very small composition meant only to provide a beautiful and shapely access to the Sam'
'Mohra is commonly played before the actual theka' ...'the purpose here is simply to draw listeners attention to the chosen tal, invitingly'

According to Gottleib, Mohra fulfils the same function as Uthan, but is called Mohra in certain gharanas.
This is part of the text from the tabla book by Ustad Kerematullah Khan ... the impression I get is that a mohra is a quick introductory flourish, as one might do perhaps in entering a room ... saying hello and shaking hands ... but a tukra is a bit more elaborate it seems, more like reciting a little poem than saying hello!
Attachments
mohra lesson 36.JPG
mohra lesson 36.JPG (34.65 KiB) Viewed 508 times
My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.

fdf
Posts: 37
Joined: Tue Oct 23, 2012 3:16 pm

Re: Mohra?

Post by fdf » Tue Aug 20, 2013 11:54 am

I was thought that last Kerematullah Khan attachment that Pascal included as a Tukra!
I suppose it must be a well known little piece, since I met quite a few tabla students that had learned it.
Sometimes it gets confusing...

Haturi
Posts: 9
Joined: Sun Aug 18, 2013 11:14 am

Re: Mohra?

Post by Haturi » Tue Aug 20, 2013 4:33 pm

I think that composition listed as lesson 36 would be defined as Tukra by mostly all tabla players. Certainly all I have met and learnt from over 25 years.
But you never know!

Surely the tehai is far too lengthy, if that is, a Tehai should be included at all!

pbercker
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Joined: Mon May 28, 2012 7:53 am
Location: st peters missouri

Re: Mohra?

Post by pbercker » Tue Aug 20, 2013 6:24 pm

Haturi wrote:I think that composition listed as lesson 36 would be defined as Tukra by mostly all tabla players. Certainly all I have met and learnt from over 25 years.
But you never know!

Surely the tehai is far too lengthy, if that is, a Tehai should be included at all!
Just so there's no confusion, the composition #36 above was merely transcribed by Robert Gottlieb from the lessons that Ustad Keramatullah Khan, then the Khalifa of the Farukhabad gharana, was giving to his son Mark Gottlieb in 1968, when Robert Gottlieb had been invited to teach western music in Calcutta. Gotlieb remarks that sometimes Ustad Masit Khan would be sitting in the same room while his son received his tabla lessons!

For sake of comparison, here are two tukras from the same book (which is free to download from the site you mentioned by the way!)



PB
Attachments
two tukras from kerematullah khan.JPG
two tukras from kerematullah khan.JPG (63.58 KiB) Viewed 478 times
My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.

pbercker
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Joined: Mon May 28, 2012 7:53 am
Location: st peters missouri

Re: Mohra?

Post by pbercker » Tue Aug 20, 2013 6:48 pm

For the sake of completeness and/or variety, here are two more mohras, these two being from Vintage Tabla Repertoire, page 104, by Gert-Matthias Wegner. The first is from U. Ahmed Jan Thirkwa, the second from U. Amir Hussain Khan. The tihais here seem perhaps a little shorter. It's worth noting that this book also has examples of tiny tiny little mohras that start not from sam but from some beat further down the cycle (even as late as matra 15 in teental!).
Attachments
2 mohras from vintage tabla.JPG
2 mohras from vintage tabla.JPG (119.56 KiB) Viewed 473 times
My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.

Benarsidass
Posts: 67
Joined: Wed Mar 07, 2007 1:17 am

Re: Mohra?

Post by Benarsidass » Fri Aug 23, 2013 4:17 am

Mukra/Mohra appears to be yet another term for which this is no clear agreement across gharanas or amongst scholars. My teacher Chhotelal Misra addresses this issue in one of his books and notes that for some the terms are one and the same, while for others they are not. Some say a mohra requires a tihai, while for others it can simply be a "run" of bols that culminates on sum without a tihai. Chhotelal himself doesn't distinguish between the two terms.

From "Playing Techniques of Tabla - Benares Gharana" by Chhotelal Misra:

Mukra/Mohra without tihai in tintal (starting on beat 13 with dha on sam):

kitataka tirakita takata- tirkaita | dha


Mukra/Mohra with tihai in tintal (sam to sam):

dha- tuna kitataka ta-tira | kitataka tirakita takata- tirakita |

dha- tirakita takata- tirakita | dha- tirakita takata- tirakita |

dha

The second one is a form of tukra and, like the Keramatulla example, this is not seen as a contradiction.

As for the idea that mohra uses "small bols" while mukra uses "large bols" (i.e. pakhawaj bols), this cannot possibly be the case, according to Chhotelal, since mukras are widely know to be used in vocal music accompaniment where pakhawaj bols would not be used.

I wouldn't worry about trying to find clarity in the theory, as there often isn't any. Just find good examples from reputable sources and learn to play them at the right time with the right feeling. With that task alone you have your hands full.

dhatitdha
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Re: Mohra?

Post by dhatitdha » Tue Aug 30, 2016 12:37 pm

Here is explanation about Mukhada/Mohra, Tukda & Chakradhar

Mukhada
When piece of syllables are played while playing Theka of Taal, it is called as mukhada, normally Mukhada is used to come on the Sam ( First Beat of Taal / Theka )

Tukda
When Mukhada is followed by Tihai then it is called as Tukda, it is also used to come on Sam [ First beat of Taal / Theka ]

Chakradhar
When Tukda is repeated three times with / without gap then it is called as Chakradhar. Simple Tukda could be some beats but Tukda of Chakdhar is expected to be significantly long composition else it feels just like Tihai.

Please refer below link for examples
http://vishwamohini.com/music/music.php?id=219

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