The First Seed-Mantra of the Eastern Tabla Tradition: Tirakiṭa–Tāka–Tāka

 

Introduction

Every great tradition of Indian percussion begins with a bīja-mantra — a seed syllable or rhythm-form that carries the essence of the style. In the Eastern (Purbi) gharana of the Hindustani Tabla, this bīja-mantra is Tirakiṭa–Tāka–Tāka. 

This rhythmic formula is not merely a combination of syllables; it is the foundation of almost eighty percent of the Eastern Tabla vocabulary. Mastering its logic and variations allows the student to understand nearly every rela, peshkār, and kayda in this lineage. Historically, this knowledge was closely guarded by the traditional custodians of the art — the gharanedār or hereditary masters (gharānawāle). 

The following explanation aims to guide the modern learner — particularly those studying outside India — toward an understanding of how this seed-mantra expands into the living architecture of rhythm.

 

 

1. Understanding the Basic Components

The Tabla consists of two drums — the Dayān (right-hand drum) and the Bāyān (left-hand drum). In the Bāyān, three basic bols (syllabic strokes) are important for this discussion: 

·         Ka           — produced by striking with the base of the hand.

·         Ga          — produced with the index finger, creating a resonant tone.

·         Gha        — produced with the middle finger, yielding a deeper resonance. 

These three bols — Ka, Ga, and Gha — are the sonic roots of the Eastern system. The transformation from one to another generates the variations that define its expressive range. 

 

2. The Tāka Bol and Its Transformation 

Let us first understand Tāka: 

·         Tā = stroke on Dayān (right drum)

·         Ka = stroke on Bāyān (left drum) 

If we substitute Ka with Ga, the syllable becomes Tāga.

If both are struck simultaneously, it becomes Dhā, a full and resonant sound combining both drums. Thus: 

·                                                         Tāka → Tāga → Dhā 

This simple transformation shows how the bīja-mantra evolves organically through finger variation and tone combination.

 

 

3. Rearranging the Mantra 

The original seed-mantra is: Tirakiṭa–Tāka–Tāka 

By rearranging, we get: Tāka–Tirakiṭa–Tāka 

Now, convert the first Tāka into Tāga: Tāga–Tirakiṭa–Tāka 

Next, change the final Tāka into Tāga: Tāga–Tirakiṭa–Tāga 

Finally, replace the initial Tāga with Dhā: Dhā–Tirakiṭa–Tāga 

Since Tā is also pronounced Nā, this can also be rendered as: Dhā–Tirakiṭa–Nāga 

This variation marks the transition from the mechanical to the musical — the moment where rhythmic grammar begins to express aesthetic meaning. 

 

4. Transformation through Internal Substitution 

The bols of Tirakiṭa (Ti–ra–ki–ṭa) are subject to subtle transformations:

·         Replace Ka with Gha, forming Tiraghiṭa or Tiraghira (since ṭa can be pronounced ra).

·         In some dialects, Gha is also articulated as Ghi, producing a clearer resonance. 

Hence, the earlier pattern: Dhā–Tirakiṭa–Nāga can transform into Dhā–Tiraghira–Nāga 

This shift demonstrates how phonetic and tonal alterations generate depth and diversity within the same rhythmic unit. 

 

5. The Complete Eastern Rela Formula 

When arranged cyclically, these variations form the principal Rela (fast composition) of the Eastern style:

 

            ||  Dhā–Tira–Ghira–Nāga || Tāga–Tira–Ghira–Nāga ||

            ||    Tā –Tira– Kiṭa – Tāka   || Tāga–Tira–Ghira–Nāga ||

 

This fourfold arrangement constitutes the core rhythmic formula (mūla-pāṭā) from which innumerable compositions is derived. Through different speeds (layas), accents, and improvisations, this structure provides both technical and aesthetic training to the student. 

 

6. The Guru–Śiṣya Method: The Living Laboratory

In Indian classical learning, especially in percussion, mastery cannot be achieved without the guru–śiṣya-paramparā — the intimate relationship between teacher and disciple. 

When sitting before the Guru, the student must not only learn the bols verbally but also observe the subtle physical techniques that give them life. The following points are crucial:

·         Finger Movement: How the index, middle, and ring fingers move in coordination during Tirakiṭa.

·         Thumb Position: The thumb must remain relaxed yet poised to control resonance on the Dayān.

·         Phalanx Control: Which joint (phalange) of each finger touches the skin, and how this changes as the tempo (laya) increases.

·         Bol Dynamics: The difference in stroke energy and rebound between Dhā, Nāga, and Tāka when played at various speeds.

·         Awareness of Sound: Each bol has its unique nāda (sonic character). Listening to the tonal relationship between Dayān and Bāyān is as important as striking correctly. 

Through this embodied learning, the student gradually internalizes the mantra not just as rhythm, but as conscious vibration — the living breath of the Tabla. 

 

Conclusion

The mantra Tirakiṭa–Tāka–Tāka is not only the first rhythmic phrase a learner encounters, but also the philosophical seed of the Eastern Tabla tradition. It represents the unity of technique, sound, and consciousness. 

To truly master it, one must transcend imitation and enter the field of awareness — where every bol becomes a syllable of the cosmic rhythm (nāda-brahma). The Guru does not merely teach hand movements; he awakens the disciple to the inner pulse of time and energy flowing through the instrument. 

Through devotion (śraddhā), repetition (abhyāsa), and awareness (smṛti), the learner abroad can connect deeply with this ancient art — realizing that even a single phrase like Tirakiṭa–Tāka–Tāka contains the entire universe of Tabla.