Abstract. In light Hindustani music, there are popular rhythm cycles such as Kaharba (8 beats), Pashto (7 beats), and Dadra (6 beats). The main purpose of this note is to introduce Dadra theka and its variations.
Introduction. Dadra tala is in 6 beats, divided into 3+3, and one of the most common rhythm cycles in light North Indian classical music. It is extensively used in classical and folk music in India and Pakistan both in vocal and instrumental music. On this note, first I give Dadra's theka and a couple of its variations.
Dadra theka. In the following, I bring Dadra Theka taken from [D]:
Dha Dhi Na Na Tu Na
Dadra variations. There are many variations for Dadra.
Dadra Variation No. 1 taken from [D]:
Dha Ga Dhi Na Ge Na Na Ka Tu Na Ke Na
Dadra Variation No. 2 taken from [D]:
Dha -- Te Te Dha Ti Dha Ga Tu Na Ke Na
Ta -- Te Te Ta Ti Dha Ga Dhi Na Ge Na
Dadra Variation No. 3 taken from [D]:
Dha Ti Dha Na Tu Na Ta Ti Dha Na Dhi Na
Dadra Variation No. 4 from [D]:
Tu Na Dha Ti Dha Na Tu Na Ta Ti Ta Na
While I was doing research on Indian talas, I composed some variations for Darda. I bring them in the following:
Dha Ge Na Na Tu Na Ta Ke Na Na Dhi Na
Ti Dha Ge Na Dha Ti Dha Ga Tu Na Ke Na
Ti Ta Ke Na Dha Ti Dha Ga Dhi Na Ge Na
Dha Ge Na Na Te Te Ta Ge Dha Na Te Te
Dha Ge Na Dha Dhi Na Ge Na TeRe KeTe Tu Na
Ta Ke Na Ta Tu Na Ke Na TeRe KeTe Dhi Na
Dha Ti Dha Na TeRe KeTe Dha Ti Dha Na Tu Na
Ta Ti Ta Na TeRe KeTe Dha Ti Dha Na Dhi Na
Dhe Te Dhe Te TeRe KeTe Dha Ga Tu Na Ke Na
Te Te Te Te TeRe KeTe Dha Ga Dhi Na Ge Na
Dadra tihais. In the following, I give a general formula for Dad tihai:
A B C D E F
Dha, -- -- A B C
D E F Dha, -- --
A B C D E F
Dha.
Based on the given formula, one may compose many Dadra tihais. As an example, I give one of them:
Dha Ga Dhi Na Ge Na
Dha, -- -- Dha Ga Dhi
Na Ge Na Dha, -- --
Dha Ga Dhi Na Ge Na
Dha.
Remark. Sometimes a Dadra tihai can be used for some performances in Ektal.
Acknowledgments. In the years between 1997 and 2003, I did research on Indian music, in particular Hindustani sangeet. On this path, Margrith Sengupta, Lakshman Rai, and Pandit Arvind Parikh (master of Indian sitar) helped me and I am grateful to all of them.
References.
[C]: David R. Courtney, Fundamentals of Tabla, Vol. I, Sur Sangeet Services, Houston, 1998.
[D]: Aloke Dutta, Tabla (Lessons and Practice), 2nd Edition, Texas, 1995.