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Tarana
Tarana
Tarana
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Tarana is a type of composition in Hindustani classical vocal music in which certain words (e.g. "odani", "todani", "tadeem" and "yalali") based on Persian and Arabic phonemes are rendered at a medium (madhya laya) or fast (drut laya) rate. It was invented by Amir Khusro (1253–1325 CE)[1].[further explanation needed] In modern times, the singer Amir Khan helped popularize it and researched its origins and the syllables used. Nissar Hussain Khan was a tarana singer.

Form

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A second, contrasting melody, usually with higher notes, is introduced once before returning to the main melody.[citation needed] The tarana may include a Persian quatrain, and may use syllables from sitar or tabla such as "dar-dar" or "dir-dir"; singers might recite full compositions (e.g. tihais, gats, tukdas)[further explanation needed] within the body of the tarana.

History

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Thakur Jaidev Singh, a commentator on Indian music, said:

[Tarana] was entirely an invention of Khusrau... True, Khusrau had before him the example of Nirgit songs using śuṣk-akṣaras (meaningless words) and pāṭ-akṣaras (mnemonic syllables of the mridang)... But generally speaking, the Nirgit used hard consonants. Khusrau... introduced mostly Persian words with soft consonants. Secondly, he so arranged these words that they bore some sense.[2]

References

[edit]
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Tarana

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Tarana is a rhythmic vocal composition in , characterized by the use of meaningless syllables such as "ta na", "nom tom", "dere", "naa", "deem", and "tana" instead of meaningful lyrics, allowing performers to emphasize and without linguistic constraints. Traditionally attributed to the 13th-century poet-musician during the reign of Sultan Alauddin Khilji, it originated as a form rooted in Persian influences and evolved within the Dilli , marking one of the earliest innovations in North Indian musical traditions. This genre, approximately 850 years old, bridges vocal and instrumental styles by incorporating elements like pakhawaj drum syllables and is typically performed in medium to fast tempos across various taals such as teentaal and ektaal. Originally featuring meaningful Persian words or couplets that later gave way to abstract vocables due to shifts over time, tarana's development was further shaped by musicians like in the 16th century, leading to its diversification into sub-forms. These include the pure tarana focused solely on syllables, tarana with incorporating occasional verses, and tarana with percussion bols blending rhythmic patterns. A slower variant known as khayalnuma tarana exists but is rare, contrasting the form's usual brisk, energetic pace that highlights the performer's improvisational skill in elaborating the . In performance, tarana is sung in vilambit (slow) and drut (fast) layas to showcase variations within a single raga, often concluding a vocal recital to demonstrate technical prowess. It has parallels in Carnatic music as the tillana, which similarly employs syllables but lacks Persian elements, reflecting shared rhythmic foundations across Indian classical traditions. Beyond vocals, tarana influences instrumental renditions and dance forms like Kathak, where its bol patterns align with footwork, underscoring its versatility and enduring "evergreen" status in Hindustani music. Notable 20th-century exponents include Ustad Amir Khan and Rashid Khan, who popularized intricate taranas in ragas like Hansadhvani and Gaud Sarang.

Form and Characteristics

Structure of a Tarana

A tarana in follows a structured composition centered on melodic and rhythmic elements, typically comprising a sthayi and an antara as its core sections. The sthayi serves as the foundational , rendered in the lower register (mandra and lower madhya octaves) to establish the primary melodic motif of the . This section is concise, often repeating a short phrase that captures the essence of the chosen , allowing for subtle elaborations while maintaining rhythmic alignment with the tala cycle. The antara introduces a contrasting in the higher register (upper madhya and taar octaves), providing melodic expansion and variety before returning to the sthayi. Tarana compositions are set within a specific , which dictates the scalar and ornamental guidelines for these sections. Rhythmic elements are to the tarana's architecture, prominently featuring tihais—triplicated rhythmic phrases that culminate on the sam, the first beat of the tala—to create emphatic resolutions and heighten percussive intensity. Relas, characterized by rapid, flowing melodic runs executed with syllabic articulation, add dynamic momentum, often accelerating the pace toward climactic resolutions. These components emphasize rhythmic interplay and syllabic precision over textual meaning, distinguishing the tarana from lyrical forms like khayal or . Taranas are typically brief, self-contained pieces designed for concise presentation that prioritizes musical architecture and rhythmic vitality rather than extended narrative or poetic depth. Unlike forms reliant on meaningful verse, taranas typically employ non-semantic syllables in their pure form, focusing on the interplay of , , and to evoke the raga's aesthetic essence.

Syllables and Linguistic Elements

The syllables employed in tarana compositions are primarily onomatopoeic vocables that imitate the sounds of percussion instruments like the , as well as string instruments such as the and , enabling performers to replicate rhythmic and melodic patterns vocally. Common core syllables include "ta-na," "da-re-na," "dir-dir," and "tom," which are derived from these instrumental imitations and allow for rapid articulation without conveying literal meaning. These elements emphasize phonetic flow over semantics, creating a focused on sonic texture. Tarana syllables reflect significant Persian and linguistic influences, particularly through the use of soft consonants such as "d," "r," and "n," which provide a smoother, more fluid pronunciation compared to the harder, aspirated sounds prevalent in Sanskrit-derived forms like . Examples include words like "odani" (meaning "he knows" in Persian), "tadeem," and "yalali," which originate from Persian poetic traditions and were integrated to enhance vocal expressiveness. This contrasts with indigenous Indian vocal styles, where sharper consonants dominate, and underscores tarana's syncretic heritage blending Central Asian and South Asian elements. The primary purpose of these syllables is to support intricate taans—fast, cascading melodic passages—and bol-taans, which are runs bound to specific syllables, thereby amplifying rhythmic complexity and demonstrating the singer's vocal agility in medium to fast tempos. By prioritizing phonetic over textual narrative, they facilitate within the raga's framework, often placed in the sthayi and antara sections to build intensity. Over time, tarana syllable sets have evolved from initial simple repetitions of basic vocables, such as "ta-na" or "dir-dir," rooted in meaningful Persian phrases, to more elaborate compound constructions like "tadani" or "tanandara" in later Hindustani styles, allowing for greater elaboration and stylistic variation. This progression reflects a shift toward emphasizing technical virtuosity while preserving the form's rhythmic essence.

Historical Development

Origins and Invention

The tarana form in is traditionally attributed to the poet, musician, and scholar (1253–1325 CE), who is credited with its invention during the period. As a to multiple sultans, Khusrau innovated by fusing Persian poetic and musical elements with indigenous Indian ragas, creating a vocal style that bridged cultural traditions under Islamic rule. This synthesis reflected the multicultural milieu of 13th-century , where Persian influences intermingled with local Hindu musical practices. While traditionally attributed to Khusrau, the exact origins of tarana remain subject to ongoing scholarly debate and research. Emerging as an innovation drawing from earlier prabandha traditions, the tarana initially incorporated Persian quatrains (rubai) for lyrical content, which later evolved into the use of non-lexical syllables to emphasize and over semantic meaning. Unlike its precursors, which often relied on structured poetic texts, tarana prioritized vocal agility and improvisation, shifting from meaningful verses to rhythmic patterns derived from percussion bols like those of the pakhawaj. This transition allowed performers greater freedom in exploring the raga's intricacies without linguistic constraints. A key distinction from precursor forms like nirgit—early wordless songs in prabandha traditions—lies in tarana's adoption of soft, flowing consonants drawn from Persian, such as "na," "ta," and "re," in contrast to the harder, more percussive consonants typical of nirgit compositions. This choice facilitated smoother vocal improvisation and melodic elaboration, making tarana more adaptable for rapid tempos and rhythmic play. Earliest evidence of tarana appears in medieval Indian music texts, where Khusrau's contributions are noted for arranging meaningful words into innovative rhythmic patterns. Musicologist Thakur Jaidev Singh, in his analysis of historical forms, affirms that tarana was entirely Khusrau's invention. References in works like the further corroborate its origins in the Sultanate era, highlighting Khusrau's role in crystallizing this rhythmic vocal style.

Evolution in Hindustani Music

During the 16th to 18th centuries, the Tarana form gained prominence in Mughal courts, where it was patronized by emperors and nobility, facilitating its adaptation from a purely vocal style to semi-instrumental expressions suitable for ensemble performances. This era marked the rise of gharanas that integrated Tarana, with the emphasizing tonal clarity and systematic elaboration in its vocal renditions, while the incorporated Dhrupad-derived rhythmic elements to enhance its structural depth. In the , Tarana was refined for modern settings, often shortened to fit within typical recital durations and drawing improvisational techniques from to allow greater melodic exploration. The advanced these changes by prioritizing rhythmic complexity through elaborate layakari and bol-taans, transforming Tarana into a vehicle for technical virtuosity while preserving its core syllabic framework. By the , Tarana achieved greater standardization and accessibility, becoming a regular feature in broadcasts that popularized Hindustani forms among wider audiences and shifting its status from an occasional piece to a staple. Amir Khan of the Indore contributed significantly to this process by researching its historical roots, decoding syllabic meanings, and blending it with khyal-style extensions, as highlighted in his AIR discussions and compositions in ragas like Megh and Hansdhwani. Regional variations further diversified Tarana's practice, with the Rampur-Sahaswan placing strong emphasis on its intricate taans and rhythmic play, often rendering it with exceptional precision in courtly and recital contexts. In , occasional crossovers appeared as the related form in , adapting Tarana's syllabic and rhythmic essence to southern melodic traditions while maintaining distinct regional flavors.

Performance Techniques

Vocal Style and Tempo

Tarana performances typically commence in madhya laya, a medium that facilitates melodic elaboration and rhythmic exploration through syllabic patterns, before accelerating into drut laya for heightened energy and climactic resolution. This progression emphasizes the form's rhythmic vitality, with madhya laya allowing singers to build the raga's structure using non-lexical syllables like "ta-na" or "der-na," while drut laya intensifies the delivery to showcase technical prowess. Key vocal techniques in tarana include gamakas, which involve subtle oscillations on individual syllables to add expressive nuance and maintain pitch precision at varying speeds, and meends, smooth glides connecting notes to delineate the raga's melodic contours without disrupting the syllabic flow. Breath control is crucial for sustaining extended taans—rapid, intricate melodic runs rendered on syllables—enabling performers to navigate complex patterns while preserving clarity and intonation. These elements prioritize rhythmic agility over lyrical depth, distinguishing tarana from more emotive forms like khayal. Expressive delivery in tarana builds tension via gradual acceleration, culminating in tihais—thrice-repeated rhythmic phrases that resolve emphatically on the tala's sam (downbeat)—creating a sense of propulsion and release. Unlike slower genres that emphasize emotional elaboration, tarana's style foregrounds speed and precision, using syllabic to heighten rhythmic excitement. Training for tarana requires rigorous mastery of layakari, the art of rhythmic variation, where singers manipulate syllable patterns in ratios such as 3:2 or 4:3 to introduce syncopations and cross-rhythms within the tala framework. This skill, honed through repetitive practice of taans and bol-taans (syllable-bound runs), ensures seamless integration of melody and rhythm, often supported briefly by instrumental lehra to underscore the pulse.

Accompaniment and Improvisation

In tarana performances, the standard ensemble typically includes the for providing a continuous drone to establish the raga's tonal center, the for rhythmic accompaniment, and melodic support from either the harmonium or . The , played by a percussionist, maintains the chosen tala—most commonly —while the harmonium or echoes the vocal phrases, enhancing the rhythmic and melodic interplay without overshadowing the soloist. In some traditional settings, the pakhawaj may substitute for the , particularly in dhrupad-influenced taranas, though this is less common in modern khayal-based renditions. Improvisation in tarana emphasizes rhythmic elaboration over slow exploratory phases, with alap-like introductions being rare; instead, performers focus on bol-banaos, where syllables are varied and expanded within the structure. In instrumental versions, such as on the or , the performance centers on gat-based in tala, incorporating rapid strumming patterns similar to jhala for dynamic expansions that mimic vocal improvisations. These elements highlight tarana's affinity to percussion-driven forms, enabling virtuosic displays through accelerated tempos and layakari (rhythmic variations). The interaction between the vocalist (or instrumentalist) and percussionist features prominent call-and-response patterns, where the soloist presents bol phrases and the responds in kind, building tension through synchronized accelerations. Mid-performance, the player often inserts tukdas—short, self-contained rhythmic solos—that complement the ongoing , fostering a jugalbandi-like dialogue without disrupting the flow. This collaborative dynamic underscores tarana's energetic character, particularly in drut laya sections. Instrumental adaptations of tarana on the or replicate vocal syllables through specialized plucking and bowing techniques, such as using the right-hand strokes to evoke "ta-na-dhin" or "dir-dir" sounds derived from bols. Performers like have popularized these versions in ensemble settings, blending them with other instruments to expand the form's rhythmic intensity while preserving its core improvisational essence.

Notable Examples and Artists

Famous Compositions

Taranas often feature intricate bol-taans for rhythmic elaboration, typically performed in drut tempo. These works highlight the form's emphasis on fast-paced delivery and meaningless syllables derived from Persian and roots, allowing performers to focus on melodic and rhythmic . A prominent attribute in many taranas is the use of repeating patterns that build tension and release through synchronized rhythmic culminations at the end of musical phrases. Such elements underscore the tarana's role as a vehicle for showcasing taans and layakari, often without semantic lyrics to prioritize pure . Taranas are frequently composed in various ragas that accommodate the swift, repetitive syllables typical of the form. These ragas provide a balanced structure for the genre's high-speed execution, enabling seamless transitions between sthayi and antara sections. Historically significant taranas have been preserved through documentation in music treatises known as akhadas and early 20th-century gramophone recordings, which captured performances by pioneers of various gharanas and ensured the transmission of these compositions across generations.

Renowned Performers

Ustad Nissar Hussain Khan (1909–1993), a prominent vocalist of the Rampur-Sahaswan , was renowned as a specialist in tarana, enriching the form by incorporating rhythmic elements inspired by jhala techniques from his gharana's instrumental traditions. As court musician to Maharaja of Baroda and a frequent performer on , he preserved and elevated tarana through his vast repertoire, influencing subsequent generations of vocalists. In the mid-20th century, Ustad Amir Khan (1912–1974) of the gharana advanced tarana by blending its rhythmic syllabic structure with the melodic expansiveness of , creating a distinctive introspective style that emphasized bol-taans and subtle emotional depth. His recordings for , including live concert captures, played a pivotal role in popularizing tarana among wider audiences, showcasing the form's versatility in ragas like and . Regarded as one of the greatest exponents of tarana in Hindustani music history, Khan's innovations influenced the gharana's teaching lineages, with disciples continuing his fusion of tarana and elements. Pandit Rashid Khan (1968–2024), a leading vocalist of the Rampur-Sahaswan gharana, was celebrated for his intricate taranas in ragas such as Hansadhvani and Gaud Sarang, demonstrating exceptional rhythmic precision and melodic depth. His performances and recordings further popularized the form in the late 20th and early 21st centuries. Among contemporary performers, Pandit Rattan Mohan Sharma, a disciple of from the , has innovated tarana through his rapid, unique style, earning the title "Badshah-e-Tarana" for breathtaking renditions that captivate global audiences. Sharma's work extends tarana's boundaries by fusing it with Rajasthani folk elements and haveli sangeet, as heard in his over 300 albums and more than 5,000 concerts worldwide, bridging classical precision with regional melodic flavors. Pandit Ulhas Kashalkar, trained across , , and gharanas under gurus like Pandit Gajananbuwa Joshi, upholds tarana's tradition in modern concerts through intricate improvisations in ragas such as Chhayanat, Mian ki Todi, and Gaud Malhar. As a at the ITC Sangeet Research Academy, he imparts tarana mastery to disciples, ensuring its rhythmic and vocal intricacies endure in performance pedagogy. His contributions earned the in 2010, recognizing his role in sustaining and evolving Hindustani vocal forms like tarana. The legacy of these performers manifests in robust teaching lineages, such as those from the and Mewati gharanas, and prestigious awards like the , which affirm tarana's enduring impact on Hindustani music's rhythmic innovation and global dissemination.

References

  1. https://scroll.in/article/677935/tarana-how-indian-classical-music-broke-free-from-the-confines-of-language
  2. https://naadnartan.in/wp-content/uploads/2024/04/Subodh-Pandey.pdf
  3. https://archive.org/download/MusicRes-Articles/AE-DileepKaranth-AmirKhusrausContributionToIndianMusic-SN-0123.pdf
  4. https://www.math.washington.edu/~gangolli/Introdem.pdf
  5. https://serverprocessor.wordpress.com/wp-content/uploads/2017/12/forms-and-styles-of-hindustani-vocal-music-naveen-venkat-2015a7ps078p.pdf
  6. https://narthaki.com/info/articles/art427.html
  7. https://ijcrt.org/papers/IJCRT2503732.pdf
  8. https://pragyata.com/amir-khusraus-contributions-to-indian-music-a-preliminary-survey/
  9. https://selfstudyhistory.com/2015/01/27/mughal-music/
  10. https://www.jetir.org/papers/JETIR1901C09.pdf
  11. https://www.researchgate.net/profile/Wim-Van-Der-Meer/publication/321514698_Hindustani_Music_in_the_20th_Century/links/5e3bb864299bf1cdb9116397/Hindustani-Music-in-the-20th-Century.pdf
  12. https://ghulamhasankhan.com/rsg.html
  13. https://www.melodigging.com/genre/tarana-3945
  14. https://baithak.org/appreciating-indian-classical-music/laya-in-indian-classical-music/
  15. https://journals.sagepub.com/doi/pdf/10.1177/27527646251325240
  16. https://sites.google.com/view/gandharvshastra/TheoryofMusic/GeetShastra/classical-music/tarana
  17. https://darbar.org/performance-format-for-hindustani-instrumental-music-alap-jor-and-jhalla/
  18. https://player.darbar.org/videos/184c-purbayan-chatterjee-darbari-kanada
  19. https://shodhganga.inflibnet.ac.in/handle/10603/375869
  20. https://www.parrikar.org/vpl/catalogue/hindustani/nissar-hussain-khan/
  21. https://www.therevolverclub.com/blogs/the-revolver-club/tarana-a-musical-language-rooted-in-rhythm-and-melody
  22. https://www.rudraveena.org/theBlog/oriental-traditional-music.blogspot.com/2018/12/ustad-ameer-amir-khan-1912-1974-raga.html
  23. https://www.parrikar.org/hindustani/kalyan-page2/
  24. https://rattanmohansharma.com/
  25. https://gajananbuwajoshi.com/ulhas_kashalkar.html
  26. https://www.itcsra.org/
  27. https://caravanmagazine.in/reviews-and-essays/fine-balance
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