Tabla Laggi Songs...

If you have been playing bhajani kaherva, you might mix in a few prakars of the tala. But even using a variety of prakars and fillers will not get full satisfaction. You would need some difference to make the tala alive and not dull to make the audience and musician fall asleep on you! You want something that will change the feel slightly for one or two cycles of a tala. That change of feel is called a laggi.
Some very important characteristics of laggis are that they are aggressive by nature. Usually, they are fast and open strokes that are nice, loud, and in sync with the tala being played. In addition, they do not have any affiliation with any specific tala. As they are cyclic forms, they must remain within the cycle. Since bhajani tala is in eight beats, a respective laggi must be in eight beats or eight matras. A particular laggi, like the one used in the bhajani, is not restricted to bhajani alone. If you are a non-classical mridanga player, this is a lesson taught to you informally. During any kirtan, whether soft or loud, it is possible that you might be accustomed on using the whole hand, instead of properly sliding or controlling the sound correctly. Since this open-handed technique is very “aggressive in nature”, what appears to be the theka or prakar is, in fact, the laggi.
Using our bhajani kaherva example, here is a mini-compositional form. As you can see in Figure 21.4, you see there are three avartans of bhajani kaherva. On the fourth avartan, you will notice how there is a new phrase consuming one whole avartan. That is an example of a laggi. Note the bols are more “open” and louder than before. Now, let’s get back to the original kaherva with the fifth avartan. It goes for another two more avartans, with the eighth avartan having another laggi. This time it’s a different one.
Let us re-examine the two laggis used. Play the first laggi four times consecutively. Did you notice how with the laggi alone, you have an almost equal weight with daya bols as well as baya bols. Laggis are so powerful that they can suffice as their own rhythmic backbone! With the second one, it’ll be a little difficult to play it at first, but it also has its own rhythmic backbone that one could actually perform in that. Of course, playing laggis as the main rhythm is a sign of lack of maturity in tabla player and accompanying. Remember that the theka and prakar are the real rhythm. The laggis are good sidekicks.

Видео Tabla Laggi Songs... канала IMIRZA777