Welcome to the Tabla Theka blog, your trusted resource for learning tabla.
Understanding Layakari
Layakari means playing rhythms at different speeds. In singing or playing music, artists vary the tempo. Layakari brings changes in different rhythms to the beat and also adds an element of fun and complexity.
Types of Layakari
- Ekgun layakari: Playing one bol per beat is called ekgun.
- Dugun layakari: Playing two bols per beat is called dugun.
- Tigun layakari: Playing three bols per beat is called tigun.
- Chaugun layakari: Playing four bols per beat is called chaugun.
The Structure and Characteristics of Dadra Taal
Dadra Taal is a very popular 6-beat (matra) rhythmic cycle in Indian classical music. It is divided into two equal divisions (vibhags) of 3 beats each. Its simple and graceful structure makes it a favorite for light classical genres like Thumri, Ghazal, and Bhajan.
| Beats (Matra) | 6 |
|---|---|
| Divisions (Vibhag) | 2 (with a pattern of 3|3) |
| Clap (Taali) | 1 (On the 1st beat) |
| Wave (Khali) | 1 (On the 4th beat) |
| First Beat (Sam) | On the 1st beat |
Watch a Demonstration of Dadra Taal Layakari
Dadra Taal Layakari Examples
Below are the standard layakari variations for Dadra Taal, presented clearly for practice.
1. Dadra Taal Ekgun Layakari (Base Speed)
| 1 | 2 | 3 |
|---|---|---|
| Dha | Dhin | Na |
| X (Sam) | ||
| 4 | 5 | 6 |
| Dha | Tin | Na |
| 0 (Khali) | ||
2. Dadra Taal Dugun Layakari (Double Speed)
| 1 | 2 | 3 |
|---|---|---|
| Dha Dhin | Na Dha | Tin Na |
| X (Sam) | ||
| 4 | 5 | 6 |
| Dha Dhin | Na Dha | Tin Na |
| 0 (Khali) | ||
3. Dadra Taal Tigun Layakari (Triple Speed)
| 1 | 2 | 3 |
|---|---|---|
| DhaDhinNa | DhaTinNa | DhaDhinNa |
| X (Sam) | ||
| 4 | 5 | 6 |
| DhaTinNa | DhaDhinNa | DhaTinNa |
| 0 (Khali) | ||
4. Dadra Taal Chaugun Layakari (Quadruple Speed)
| 1 | 2 | 3 |
|---|---|---|
| DhaDhinNaDha | TinNaDhaDhin | NaDhaTinNa |
| X (Sam) | ||
| 4 | 5 | 6 |
| DhaDhinNaDha | TinNaDhaDhin | NaDhaTinNa |
| 0 (Khali) | ||
Conclusion
Dadra Taal, with its graceful 6-beat structure, and its expressive layakari, adds profound depth and emotion to performances. Mastering these variations helps musicians connect deeply with their audience and showcases their command over rhythm.
Note: The notation of the taal is written according to the Bhathkhande Swarlipi method. 'Sam' is shown by an (X), 'Khali' is shown by a (0), and subsequent 'Taalis' are shown by their respective numbers.
