Last week, we heard bol banaav thumris sung in the eight-matra Kaherva. Some vocalists also sing bol banaav thumris in the six-matra Dadra taal. But usually, Dadra is used for the dadra form that is closely allied to the thumri. Today, we will listen to some tracks featuring dadra compositions set to Dadra. But before doing that, here is the structure of the Dadra taal.
Since the Dadra taal can be used in medium and fast tempi, we feature vocal compositions in both speeds. The laggi section referred to in earlier episodes of the current series on tabla accompaniment to Hindustani vocal and instrumental music and dance, is present in Dadra compositions too.
To begin with, we listen to celebrated thumri exponent Siddheshwari Devi sing a dadra in the raag Gara. Listeners will note the medium tempo of the rhythmic cycle.
Faiyaz Khan sings a dadra set to a faster tempo Dadra taal.
Rasoolan Bai sings a Dadra on the next track. The taal can be heard at a faster speed here. Although the main rhythmic accompaniment is provided by the dholak, I have included this track to demonstrate the manner in which the accompanist can change from Dadra to Kaherva and switch back seamlessly.
We end with a dadra set to the raag Bhairavi sung by Siddheshwari Devi.
One of India’s leading tabla players, Aneesh Pradhan is a widely recognised performer, teacher, composer and scholar of Hindustani music. Visit his website here.
This article is based on Pradhan’s book Tabla: A Performer’s Perspective.
