hello guys!!! can anybody say rag kedar of hindusthani music notations ? like S R1 R2 G1 G2 M1 M2 P D1 D2 N1 N2 and also komal and teevra Shadaj rshab gandhar madhyam pancham dhaivath nishad
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Answers
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Tan (pronounced as Taan): Of all melodic figures, the most significant one is the Tan. A Tan can be termed as a group of notes employed for exposing or expanding the raga. They are usually sung at a faster speed compared to the basic tempo of the piece. The essential feature of the Tan is that the notes must be in rapid succession. The term Tan arises from the root verb, Tanana, meaning, 'to stretch'. Tans are most often used in the Khayal style of singing and this is supposed to have added to its popularly as compared to the Dhrupad style, which does not have the same freedom.
There are various types of Tans depending on the manner in which they are constructed. These can be categorized on the basis of melodic structure, vocal technique, ornamentation used and rhythmic structure. The Tan can have a melodic structure that is straight (Sapat), convoluted (Vakra), patterned (Alankar) or can be a mixture of these.
The Sapat Tan is a straightforward one and has a series of ascending or descending notes without any twists. It must, however, follow the rules of the raga and hence only notes permitted in the aroha (ascent) and avaroha (descent) can be used in it. The Vakra Tan moves upwards and downwards in total contrast to the Sapat Tan. However, this must also adhere to the outline of the raga as given by the aroha and avaroha.
Alankara Tans involve repetition of certain notes through the different octaves. They are thus similar to scale exercises. Of these, Chhut Tan, a Tan that jumps, is used in vocal as well as instrumental music. In this, short straight Tans are separated by gaps. Another mixed type that is encountered is the Phirat Tan, in which improbable combinations are displayed with many alternating ascending and descending sections.
Different vocal techniques give rise to the Akar-tan, Sargam-tan and Bol-tan. Sargam-tans, as the name indicates, are sung to the names of the notes. Akar-tans, on the other hand, do not use the names of the notes, but are sung to the syllable, ‘aa’. Bol-tans are sung to the notes of the text or lyrics. Bol-banth is used for Layakari, wherein the words are broken up with a syllable to a note or almost two, in order to create a rhythmic effect. In Bol-tan, each syllable covers several notes. The gamak (ornamentation) can also be combined with Tan to form what is known as the Gamak-tan. This is based on the principle of repetition of the same note. This involves heavy vocal oscillation with each note starting at an earlier note and coming to the subsequent note through rapid oscillations. Gamak-tan is subtler than the Jabde-ki-tan, which is sung using the movements of the jaw. Lahak-tan involves lesser oscillations of the voice while, Halak-tan is supposed to be produced by varying the sound using vocal chords. Tans can be called duguni, tiguni, and chauguni (two, three and four) depending on the number of notes in one beat. The tempo of the Tan can also be reduced and then increased to create a different effect. This shows that Tans have a rhythmic structure as well.