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Taan and Types of Taaan 1

Taans are fast melodic passages or improvised vocal phrases used in Indian classical music. There are different types of taans classified by their melodic structure, rhythmic structure, or manner of delivery. The main types are sargam taan (notes sung), bol taan (words sung), and akar taan (just the vowel "ah" sung). Structured taans are pre-composed while free-flowing taans are improvised. Five basic taans are shudha taan (uses ascending and descending note patterns), koot taan (no set order), mishra taan (combines ascending and descending notes), sapat taan (uses notes across three oct

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2K views4 pages

Taan and Types of Taaan 1

Taans are fast melodic passages or improvised vocal phrases used in Indian classical music. There are different types of taans classified by their melodic structure, rhythmic structure, or manner of delivery. The main types are sargam taan (notes sung), bol taan (words sung), and akar taan (just the vowel "ah" sung). Structured taans are pre-composed while free-flowing taans are improvised. Five basic taans are shudha taan (uses ascending and descending note patterns), koot taan (no set order), mishra taan (combines ascending and descending notes), sapat taan (uses notes across three oct

Uploaded by

Surbhi Samdani
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Taan and Types of Taan

The tan is an impo tant part of


the vocal performance.  A tan is a
fast trill of notes performed in a
very high speed.  If the vocalist
sings the notes of the tan it is called
a "sargam tan".  If the vocalist uses
words then it is called "bol tan".  If
just the vowel "AH" is used then it is
known as "akar".  The gatkidi is a
special, highly ornamented tan that
is found in the tappa style of sing-
ing.

The tan is also found in


instrumental performances,
although the trea ment will be
slightly di e ent.

TYPES OF TAAN IN INDIAN CLASSICAL MUSIC?

The term "taan" is used to describe a number of different types of


phrases and patterns used in Indian classical music. Taans can be
classi ed by their melodic structure, rhythmic structure, or by the
manner in which they are delivered. Melodic taans are usually
based on a speci c scale or raga, and often make use of
ornamental notes known as gamakas. Rhythmic taans are usually
based on a speci c tala, or rhythmic cycle, and often make use of
complex patterns of subdivisions. Taan delivery can also be
classi ed as free- owing or structured. Free- owing taans are

fi
fi
f­f
r­

fi
fi
t­
fl
r­
fl
improvised within the framework of a given melody or rhythm, while
structured taans are pre-composed or memorized phrases.

Taan means fast melodic passage / improvised vocal phrase. It


originates from the Sanskrit word ‘tan’. Like an alaap (slow
methodical progression of notes in a raga), it is sung in the
‘aakar’. The order mostly followed in the singing of ragas is:
alaap, bolalaap, boltaan finally followed by taan. Alaaps are
sung taking into cognizance raagniyam (rules of singing a
composition) vadi, samvadi, swarlagaav (adherence) etc which
give badhat (develop) to the rendition of ragas to create the
vaataavaran (ambience) for the specific raga. The raga is
always rendered in the order mentioned above. Taans are
generally rendered at the end. Voice training is a must and
indispensable for effective rendering of Taans. A singer who can
effectively render Taans is known as a ‘Tanait’. Through the
medium of Taan, a rendition can be made unique and
interesting. Laya is the praan (essence / life) of a Taan. A Taan
emanating from the same group of swars, can be made to
sound different with bal (emphasis / stress / accentuation) on
different swars. The alaap is sung in vilambit laya (slow tempo)
and the Taan in drut laya (fast tempo). In Taankriya 2 , 3 ,4 ,8
swars are used in one matra to achieve Layakaari (rhythmic
variation / improvisation).

Though Taans are of various types, five basic Taans are given
below:

1. Shudha Taan: In this Taan, in the aroha (ascending note


pattern) and avroha (descending note pattern), swarprayog
is used.
2. Koot Taan: This Taan has no specific order. One would
encounter a combination of Mandra Saptak , Madhya
Saptak, and Taar Saptak notes in its rendition. The Taans
in jalad layas (fast tempos)are an artistic creation. One

must be creatively endowed and possess command over


notes to be able to sing the Koot Taans.
3. Mishra Taan: A combined usage of aroha and avaroha
swar in one Taan is what creates a Mishra Taan. eg . Ga
Pa Dha Sȧ, Dha Pa Ga Dha, Pa Pa Ga Re Sa
4. Sapaat Taan:This is a form of a saral (plain) or shudha
(pure) Taan, which includes swaraprayog (use /
employment of notes) in all the three saptaks (octaves)
5. Vakra Taan: It is a type of a Koot Taan .We use Vakra
(zigzag) swars in it. eg Vakra Taan of Raga Gaudsarang –
Nị Sa , Ga Re , Ma Ga Pa Ḿa , Dha Pa , Ni Dha ,
Sȧ Ni, Rė Sȧ , Dha Pa, Ma Ga Re Ga , Re Ma Ga ,
Pa Re Sa .

6. Gamak Taan : Gamak is a technique by which a force is


added to notes and each note is repeated at least twice.

The Structure of a Taal (Theka)


The standard sequence of beats that de nes a taal in its simplest
form is called theka. So, for instance, the theka of Teentaal is:

dhaa dhin dhin dhaa / dhaa dhin dhin dhaa / dhaa tin tin taa/ taa dhin
dhin dhaa
Accented beats in the taal sequence (indicated in bold) are called
taali (clap), while unaccented beats (indicated in italics) are called
khaali (empty). This terminology re ects the traditional method for
keeping time using your hands while you sing. On the tabla, taali
beats are played with a resonating effect, while khaali beats are
played with a dry or metallic sound.

Strung together, the different types of beats give texture and


accentuation to the taal pattern as well as providing aural clues as to
which part of the taal cycle is currently being played, which is

fl
fi

important to keep track of so that you can return to the sam


correctly on the correct syllable.

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