Fifteen matras in 3+4+4+4 — claps on 1, 4, and 12, wave on 8. Its theka is one of the repertoire's most elaborate, dense with composite syllables ("Dha Thrakita Dhina | Kath Dhidhi Naadhi Dhinaa..."), and the tala rose to fame through twentieth-century solo and sarangi-accompanied performance.
The short opening three launches into long fours, so the cycle strides unevenly and lands with weight. It is connoisseur territory: presented deliberately, counted vigilantly, and savored for the theka itself as much as for anything built on it.