In Hindi, this term translates to 'garland' and is predominantly associated with the Tāraparaṇa category. Typically, percussion makes its entrance here as an accompaniment.

Within the Dhrupad style, the Pakhāvaj serves this purpose, while in the more contemporary Khayal style, the Tabla takes its place. It's worth noting that from this phase onward, rhythm takes precedence, although the melodic aspect, previously thoroughly explored, is not disregarded and still adheres to the essential criteria of the Rāga.

The Laḍī, in essence, represents a 'garland' of strokes or Bola, utilized by percussionists. The focus is on a concise phrasing by Bola, which is then expanded into a series of variations, combinations, and arrangements on both the melodic and percussive fronts.

Traditionally, the melodic instrument mimics the bola of percussion during this stage, maintaining simplicity in the rhythmic alphabet. For instance, a Pakhāvaj phrase like 'DhumaKita Tāka Tāka' could evolve into:

'DhumaKita Tāka Tāka, DhumaKita Tāka Tāka, DhumaKita DhumaKita, Tāka Tāka DhumaKita, TākaDhuma KitaDhuma, Kitakita TākaDhuma,' and so forth.

On a stringed instrument, the corresponding Bola might be:

Dārāḍāḍā Rāḍāḍārā, Dārāḍāḍā Rāḍāḍārā, Dārāḍāḍā Dārāḍāḍā, Rāḍāḍārā Dārāḍ āḍā, Rāḍāḍārā Dārāḍāḍā, Rāḍārāḍā Rāḍāḍārā, and so on.

While there are no direct correspondences between the Bola of percussion and those of the instrument, the instrumentalist individually imitates the rhythmic effect as deemed suitable. The conclusion of this phase, replacing the Moharā, is marked by the Tihāī, which can be varied at the discretion of the musicians, ensuring it remains engaging and avoiding monotony (see Ālāpa).