The Hindi term, meaning 'one third,' is derived from the expression 'Tin Tihāī,' signifying 'three thirds creating a unity.'

The concluding part of a musical phrasing, formed by the three segments of a Tihāī, always concludes on the Sama or on the Mukra.

This rhythmic structure generates an anticipation in the listener, fulfilled by consistently concluding on the first beat of the rhythmic cycle.

There are four categories of Tihāī:

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1. Plutātiyugala of 13 Mātrās, embedded in a Cautāla, commences and concludes on Sama.

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Dheredhere Kat | Dhā Katā | Katā Dheredhere| Kat Dhā | Katā Katā | Dheredhere Kat | Dhā (X)

In this example, the primary phrase is 'DheredhereKatDhā,' while 'KatāKatā' is regarded as a connecting phrase.

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2. Atiyugala of 11 Mātrās, embedded in a Cautāla, initiates from the third Mātrā and concludes on the Sama.

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Dheredhere Kat | Dhā Katā | Dheredhere Kat| Dhā Katā | Dheredhere Kat | Dhā (X)

In this case, the main phrase remains 'DheredhereKatDhā,' with a single 'Katā' serving as the connecting phrase.

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3. Yugala of 9 Mātrās, embedded in a Cautāla, begins from the fifth Mātrā and concludes on the Sama.

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Dheredhere Kat | Dhā Dheredhere | Kat Dhā | Dheredhere Kat | Dhā (X)

Here, the main phrase remains 'DheredhereKatDhā,' while the connecting phrase 'Katā' is omitted.

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4. Ghāṭiyugala of 7 Mātrās, embedded in a Cautāla, starts from the seventh Mātrā and concludes on the Sama.

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Dheredhere Kat | Dheredhere Kat | Dheredhere Kat | Dhā (X)

In this instance, the main phrase remains 'DheredhereKat,' and the Bola 'Dhā' concludes the Tihāī on Sama.

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Each Tihāī can be repeated three, nine, or twenty-seven times and is referred to as Cakradāra.