Introduction to Dadra Tal

Dadra tal is one of two light-classical (or “semi-classical”) tals that most classical tabla students learn. Kaharawa tal is the other.

Like kaharawa, dadra tal is widely played across South Asia in all kinds of tribal, folk, spiritual, and popular genres. As kaharawa is the standard 4/4 rhythm of South Asia, dadra is the standard 3/4 rhythm.

A number of popular light-classical genres or song forms are commonly performed in dadra tal, such as dhun, thumri, and ghazal. A classical performance will often finish with one or two of these pieces.

Traditionally, tabla solo is not commonly performed in dadra tal, though you may hear it in a less formal performance.

The Music Genre of Dadra

There is also a music genre known as dadra. I believe these were originally vocal song genres, though some instrumental pieces may now also be known as dadra.

This genre may be performed in dadra tal, but not necessarily. Some may be performed in kaharawa or other light-classical tals. And so you might hear a performer say “I will now sing a dadra (the song form) in kaharawa tal.” Or you might hear one say, “I will now perform a dhun in dadra tal. “

Dadra Tal Structure

Dadra tal has a structure of 2 vibhags (divisions) of 3 matras (beats) each (3–3), with a tali-khali pattern of tali-khali (stressed-unstressed):

In written form, the dadra vibhags are commonly marked X–0:

• X = sam and first tali vibhag
• 0 = khali vibhag

Dadra Tal Timekeeping Pattern

The dadra vibhags are shown by the timekeeping pattern of clap-wave:

Compositions in Dadra Tal

Dadra tal does not have a large repertoire of compositions like the major classical tals do. Dadra is primarily an accompaniment tal, and not commonly used for tabla solo. In light-classical accompaniment, tabla solos are usually limited to short, repetitive, laggi-type patterns.

Most books of classical compositions that I have seen do not include many compositions in either dadra or kaharawa. Chhotelal Misra, for example, included thekas for both dadra and kaharawa in his books, but he did not include any compositions other than laggis. And I personally never learned any kaydas or relas in either dadra or kaharawa tal, though I know that some students do.

This is because compositions, or pieces of compositions, from other tals can be easily adapted to dadra. The most common way to do this is to use a tintal composition which is in ara lay (3:1 or 6:1) and play it in barabar lay (2:1, 4:1, etc.).

For example, Dilli Beginner Kayda 8 in tintal is in 3:1:

If we play it in 4:1, it then fits in dadra tal: