This kaida is credited to Ustad Alla Rakha, and among current masters it is being played with astonishing brilliance by his student Pandit Yogesh Samsi. I first learned it from my guru Pandit Vishal Nagar and the first recording of it I ever heard was from Ustad Zakir Hussain's Tabla solo album "The Ultimate in Percussion Music [1986]" where he plays a modified version in 14 beats. As this is a Punjab kaida, Tete should be played index finger first and middle finger second, rather than the other way around, but of course people play it both ways. For students who have never before practiced Punjab style tete this is a good kaida to learn it with.
So here's the composition as it appears in Tintal:
Dha - Tete DhaDhaTete DhageDhinagena Dha -
Dha - TeteTete DhaDhaTete DhageTinakena
Ta - Tete TaTaTete TakeTinakena Dha -
Dha - TeteTete DhaDhaTete DhageDhinagena
Let's go ahead and analyze it quickly. This is basically a two-line composition with each line ending in the identical phrase "DhaDhaTete DhageDhinagena [or Tinakena]." This phrase comprises five beats. The first line begins with "Dha - Tete" and the second line begins with "Dha - Dha - TeteTete," so a doubling of that motif. Taken together, the first line comprises seven beats and the second line 9 beats. Let's compare the two lines separately:
Dha - Tete DhaDhaTete DhageDhinagena (7)
Dha - Dha - TeteTete DhaDhaTete DhageTinakena (9)
Ta - Tete TaTaTete TakeTinakena (7)
Dha - Dha - TeteTete DhaDhaTete DhageDhinagena (9)
The unequal length of these phrases leads to interesting variations at the outset because while a typical dohara or 3+1 -type variation is technically possible, it will sound rather dull in comparison to some of the other options now available to us. So now I'll quickly provide some sample variations along with a breakdown of the structure and indications for where each new phrase starts.
Option 1: 7+7+9+9
/ Dha - Tete DhaDhaTete DhageDhinagena / Dha -
Tete DhaDhaTete DhageDhinagena / Dha - Dha -
TeteTete DhaDhaTete DhageDhinagena / Dha -
Dha - TeteTete DhaDhaTete DhageTinakena
Option 2: 7+7+7+11
/ Dha - Tete DhaDhaTete DhageDhinagena / Dha -
Tete DhaDhaTete DhageDhinagena / Dha - Tete
DhaDhaTete DhageDhinagena / Dha - Dha - Tete
Tete DhaDhaTete DhaDhaTete DhageTinakena
Option 3: 7+9+11+5
/ Dha - Tete DhaDhaTete DhageDhinagena / Dha -
Dha - TeteTete DhaDhaTete DhageDhinagena
/ Dha - Dha - Dha - TeteTeteTete DhaDhaTete
DhageDhinagena / DhaDhaTete DhageTinakena
All three of these variations serve as a potential starting point, or they can all three be played in a row. These are all very superficial variations, just playing with the structure of the composition; we haven't yet even begun to play with the actual language available to us.
I hope you found this helpful! If there are other compositions or subjects that you would like me to write about, please contact me and I will try to accommodate your request.
-Chaz