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Visharad Pratham - Types of Taan

memorize.ai (lvl 286)

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15 cards

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Section 1

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bol taan

Front

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Hindustani Languages

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Last updated

6 years ago

Date created

Mar 1, 2020

Cards (15)

Section 1

(15 cards)

bol taan

Front

words are used from the bandish in different speeds

Back

mishra taan

Front

some part of this taan has saral taan part while some part is not in order like in koot taan. thus this taan is a combinations of saral and koot taan. (ex. ga ma dha ni sa | gare nisa dhani mapa dhapa maga resa)

Back

ladhat taan

Front

some phrase of swars in opposite manner in this taan known as ladhat taan (ex. ga re ga re sa sa sa sa ni dha ni dha pa pa pa pa)

Back

alankar taan

Front

alankar is used in a specific manner. (ex. sa re ga, re ga ma, ga ma pa, ma pa dha, pa dha ni, dha ni sa)

Back

chalan

Front

every raag has a specific aroh-avaroh. some of them are sung as they are while others are sung with vakra pace. thus every raag has specific rules for its aalap which is known as that raag's chalan

Back

khatke taan

Front

a short group of swars is clubbed together (ex. rere sa ni sa, gama dhadha pa ma pa, rere sa ni sa)

Back

koot taan

Front

notes do not remain in order. it's complicated in nature and difficult to understand the sequence of swars (ex. sare gare pama khapa nidha mani dhadha resa | dhani dhapa gama gare gare sa)

Back

zamzama (jamjama) taan

Front

this is msotly played on sitar but some vocalists sing it as well. the notes are rendered in progressive combinations and permutations. (ex. sare sare | rega rega gare gare | sare sa sare sa resa resa)

Back

acharak taan

Front

each swar is used twice. this kind of taan is sung in aagra gharana (ex. rere sasa nini dhadha)

Back

saral taan

Front

the musical notes are placed in an order in same pace and they are straight aaroh-avaroh (ex. sa re ga ma pa dha ni sa | sa ni dha pa ma ga re sa)

Back

bahilawe taan

Front

this is a combination of saral and vakra taan. along with each swar kan sar is used

Back

uthav

Front

the use of swars at start to indicate the raag. the expert vocaltist can express the raag by using 2-3 swars at the start (ex. ni sa ga ma ga,, which indicates raag Bihag)

Back

vakra taan

Front

melodic structure that is convluted (vakra). this taan moves upwards and downwards in total contrast to the sapat taan, however this must also adhere to the outline of the raag as given by the aroh and avaroh

Back

gamak

Front

can be defined as a fast meend (spanning 2-3 notes normally) delivered with deliberate force and vigor and repeated in an oscillatory manner (ex. re ga is a meend if it is a glide from re to ga at a moderately slow tempo. but the same re ga repeated twice or more at a relatively faster tempo, often forcefully, is termed as gamak. the gamak is distinguishable from the andolan because of its faster speed and its clearly audible starting and ending points.) nowadays drupad vocalists use this taan more often

Back

sapat taan

Front

this is a variation of saral taan, but this taan has slightly faster pace with emphasis on some swars

Back