Dhamar (music)

In this article we will explore all aspects related to Dhamar (music), from its origin to its impact on today's society. WE WILL examine the different theories and studies that have contributed to our understanding of Dhamar (music), as well as their relevance in various contexts, from economics to popular culture. We will also address the ethical and moral implications associated with Dhamar (music), and how these have influenced the way this topic is handled today. Through comprehensive analysis, we will seek to understand the significant role Dhamar (music) has played throughout history and how it continues to shape our world in the present.

Hindustani classical music
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Dhamar is one of the talas used in Hindustani classical music from the Indian subcontinent. It is associated with the dhrupad style and typically played on the pakhawaj and also tabla.

Dhamar taal has 14 beats (matras) grouped asymmetrically into a 5-2-3-4 pattern.

A song in dhrupad style set to dhamar tala is also called a dhamar. The text of a dhamar concerns the antics of Krishna teasing the milkmaids during the Holi (hori) Spring Festival of colours. It is considered a relatively light, gentle, and romantic musical form.

The theka or syllabic pattern of dhamar tala is: 

1    2    3    4    5    6    7    8    9    10   11   12   13  14
क    ध्धि   ट    धि   ट    धा    ऽ    ग    त्ति  ट    ति   ट    ता   ऽ
ka   ddhi Ta   dhi  Ta  dhaa  -    Ga   Ti   Ta   Ti   Ta   taa  -

In counting out the beat, beats 1, 6, and 11 are clapped (tali), and beat 8 is indicated by a wave of the hand (khali): 

(1) Clap 2 3 4 5 |(1) Clap 2 |(1) Wave 2 3 |(1) Clap 2 3 4 ||

References

  1. ^ Shrivastava, Harish. Raag Parichay 2. Sangeet Sadan Prakashan.
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