From Beej Mantra to Laggi Composition - The Trans-formative Grammar of Tabla Mnemonics

 

Abstract

This paper explores the linguistic and rhythmic transformation of the foundational mnemonic—or beej mantra—in Hindustani percussion, tracing its evolution from the root syllables Tira-kiṭa–Tāka–Tāka into advanced performance patterns such as Dhā–Dhā–Tira–Kiṭa and finally into the popular Laggi composition |Dhā–Tu–Nā–Rā | Tā–Tu–Dhā–Rā|. Through this analysis, we illustrate how the phonetic, rhythmic, and pedagogical evolution of tabla bols encapsulates the aesthetic and mathematical sophistication of Indian rhythmic thought. 

Keywords: Tabla, Beej Mantra, Qaida, Laggi, Hindustani Percussion, Mnemonics, Rhythmic Transformation, Indian Classical Music 

 

 

 

1. Introduction:

The Tabla, the king of Hindustani percussion instruments, is distinguished by its intricate vocabulary of syllables known as bols. Each bol represents not merely a sound but a precise stroke, position, and expressive intent. The foundation of this rhythmic language lies in short mnemonic formulas called beej mantras (seed mantras), which generate complex rhythmic architectures through systematic transformation and recombination. 

This study focuses on the evolution of one such beej mantra—Tira-kiṭa–Tāka–Tāka—and its transformations into different performance frameworks, culminating in the classical Laggi, a lively rhythmic phrase frequently used in semi-classical and light music. 

 

2. The Foundational Beej Mantra:

The beej mantra that underlies much of the Hindustani percussion vocabulary is:

 

Original Beej Mantra:  || Tira–Kiṭa–Tāka–Tāka ||

 

This simple four-part mnemonic contains within it the phonetic structure of two contrasting movements — the Tira-Kiṭa (light, flicking strokes) and Tāka-Tāka (firm, resonant strokes). From this rhythmic seed, numerous patterns can be generated through substitution, expansion, and transposition. 

 

3. Transformation into Dhā–Tira–Ghira–Nāga:

Through the process of bol substitution (replacing certain syllables with their functional equivalents), the mantra expands as follows:

 

Expanded Form:  || Dhā–Tira–Ghira–Nāga || Tāga–Tira–Ghira–Nāga ||

 

This transformation introduces heavier strokes (Dhā and Ghira), bringing a balance between the open resonant sounds and the closed muted strokes—an essential contrast in tabla playing. 

When repeated in rapid succession, this pattern develops into a rela (fast-flowing composition), used in solo performances to demonstrate dexterity. 

 

4. Transformation into Dhā–Dhā–Tira–Kiṭa:

By reinterpreting the rhythmic symmetry of the phrase, we derive a new variation:

 

Variant Transformation:  || Dhā–Dhā–Tira–Kiṭa ||

 

Here, Dhā replaces the first part of the original mantra, and repetition (Dhā–Dhā) introduces weight and rhythmic density. This bol pattern is, in essence, a transformation of Tira–Kiṭa–Tāka–Tāka, illustrating how phonetic substitution maintains structural integrity while varying expression. 

 

5. Generating a New Beej Mantra: Dhā–Dhā–Tu–Nā:

When the component Tira–Kiṭa in the previous form is substituted with Tu–Nā, a new beej mantra emerges:

 

New Beej Mantra:  || Dhā–Dhā–Tu–Nā ||

 

This process exemplifies how the tabla pedagogy encourages learners to derive new rhythmic material from existing frameworks — an approach that fosters creativity while maintaining lineage. 

In traditional qaida pedagogy (structured technical exercises), both patterns are practiced together:

 

                         Qaida Form:

        || Dhā–Dhā–Tira–Kiṭa   || Dhā–Dhā–Tu–Nā  ||

          ||    Tā–Tā–Tira–Kiṭ       || Dhā–Dhā–Tu–Nā ||

 

Each bar (denoted by “||”) represents one avartan (cycle unit), providing clarity for learners and performers. 

 

6. Reordering and Phonetic Evolution:

Rearranging the new mantra yields another variant:

 

Reordered Form:  || Dhā–Tu–Nā–Dhā ||

 

In oral transmission, this is sometimes pronounced as: Dhā–Tu–Nā–Rā 

However, a key phonetic clarification must be made:

Although Rā, Nā, and Tā appear distinct, in tabla phonetics they often function as equivalent sound symbols, depending on their tonal and positional context. Nā is regarded as the complementary bol of Dhā, forming a sonic polarity fundamental to tabla phrasing. 

 

7. Formation of the Laggi Composition:

By aligning and combining complementary bols, the rhythmic pattern naturally resolves into a cyclical and danceable form:

 

Laggi Composition:  || Dhā–Tu–Nā–Rā || Tā–Tu–Dhā–Rā ||

 

This lively sequence forms one of the most recognizable laggis in Hindustani rhythm — a style characterized by lightness, speed, and playful interaction. 

It is frequently performed as accompaniment in:

·         Semi-classical vocal forms such as Thumri and Dadra

·         Folk-inspired genres like Kajri and Chaiti

·         Hindi film songs and modern compositions influenced by classical rhythm

 

 8. Pedagogical Implications:

For learners and foreign tabla students, this study provides an example of how rhythmic literacy in Indian percussion is cultivated through oral and mnemonic devices. The transformation from Tira-kiṭa–Tāka–Tāka to Dhā–Tu–Nā–Rā demonstrates:

·         The continuity of structural logic within rhythmic improvisation.

·         The creative power of phonetic transformation.

·         The pedagogical value of comparative bol analysis in tabla training.

 

Practicing such transformations refines a player’s understanding of phrasing, symmetry, and the balance of resonance and silence (nāda and śūnya). 

 

9. Conclusion:

The journey from the beej mantra to the laggi represents not merely a technical progression but a philosophical one. It encapsulates how simplicity evolves into complexity through mindful repetition and transformation — an idea deeply rooted in Indian aesthetics. 

By understanding and practicing these transformations, the tabla player not only refines skill but also enters into the lineage of paramparā, where rhythm (tāla) is both language and meditation.

 

 

Appendix: Notation Summary

 

Stage	Pattern	Description
1	2	3
1. Beej Mantra	|| Tira–Kiṭa–Tāka–Tāka ||	Foundational mnemonic
2. Expanded Form	|| Dhā–Tira–Ghira–Nāga ||  Tāga–Tira–Ghira–Nāga ||	Used in rela compositions
3. Transformation	|| Dhā–Dhā–Tira–Kiṭa   ||	Bol substitution creating rhythmic weight
4. New Beej Mantra	|| Dhā–Dhā–Tu–Nā  ||	Generates a new qaida pattern
5. Qaida Form	|| Dhā–Dhā–Tira–Kiṭa  ||  Dhā–Dhā–Tu–Nā ||             || Tā–Tā–Tira–Kiṭa ||  Dhā–Dhā–Tu–Nā ||	Pedagogical exercise
6. Reordered Pattern	|| Dhā–Tu–Nā–Dhā  || (or Dhā–Tu–Nā–Rā)	Reordered version
7. Laggi Form	|| Dhā–Tu–Nā–Rā || Tā–Tu–Dhā–Rā ||	Final rhythmic composition

 

 

 

References:

1. Gottlieb, R. (1993). Solo Tabla Drumming of North India: Its Repertoire, Styles, and Performance Practices

2. Slawek, S. (1987). Keeping it Going: Terms, Practices, and Processes of Improvisation in Hindustani Instrumental Music

3. Naimpalli, S. (2005). Theory and Practice of Tabla

4. Ghosh, D. (1995). Tabla: Lessons and Practice

5. Jairazbhoy, N. A. (1995). The Rāgs of North Indian Music: Their Structure and Evolution