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Listeners will note the maestro’s near-recitative and dramatic manner of elaboration, while maintaining a constant focus on the six-matra or time-unit framework of the taal. The extent of melodic elaboration is self-evident as he embarks on frequent excursions away from the main raag Gara only to return in different ways to the sthayi or first line of the composition.
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The first track today features the maestro singing a slow dadra employing the Dadra taal. But the popular dadra compositions performed by exponents of the Purab style of thumri singing that we will listen to today use Dadra only at a slow speed. That may have appeared frenetic to many due to the tempo and the limited melodic variations. Last week, we heard an uptempo dadra sung by thumri exponent Mahadev Prasad Mishra of Banaras.
DADRA TAAL SERIES
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