Indian Classical Music And Sikh Kirtan
by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Tan
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by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Tan
Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Tan |
| Tan It means the exemplification or patternisation of the raga. It is pronounced as taan. To practise the svaras of a raga in rhythmic patterms with different permutations is called tan. It can be one-half, one-fourth, one-eighth of the time of the asthai. The difference between alaap and tan is that of laya (tempo). Alaap is done in slow sequence, while tan is played in quick sequence-like a fast sweep. The idea is to extend the basic melody. Tan requires a lot of practice and lot of attention to vadi and samvadi svaras. Nowadays tan is often used as an ornament (alankar). Laya (tempo) has an important place in tan. Here is an example: 1 2 3 4 5 6 7 8 S R G M P D N S S N D P M G R S, S R G M P D N S S N D P M G R S (_) (_) (_) (_) (_) (_) (_) (_) There are four varieties of tans: (a) shudh or sapat tan: in this tan, the svaras (notes) are played in the sequential order, in the direct aroha and avaroha style; (b) Koot tan: here the svaras are played in any order not in the usual SRGMPDN sequence; (c) Misrat tan: here is a mixture of shudh and koot tans; the aroh is in shudh tan, while the avaroha is in koot tan; and (d) Bol tan: when the tan uses the words of the geet or song the words so used are called bol tan. Goswami mentions 17 types of tans used during the Moghul rule in India. |