The fast tempo band, where beat spacing tightens and stroke preparation must shrink to almost nothing. Relas, fast theka, and the closing stages of both solos and khayal accompaniment live here.
Speed is built, not forced: hands stay low, fingers do the work, and the bayan keeps its shape rather than degenerating into thuds. The traditional measure of drut playing is clarity — whether each bol still speaks — and unbroken laya, since rushing under pressure is the universal failure mode.