Tarana- An Aesthetic musical thought beyond words
Pt. Kumar Gandharva , one of the remarkable Hindustani classical vocalist of this century described tarana in following words "when in singing everything has been sung before, and the feeling of inadequacy still persist, than the musical form tarana satisfies your quest."
Tarana or Tillana , a racy musical form in classical music has been the most popular form sung all over India. The form with meaningless words has attracted not only the vocalists, but the dancers of kathak and bharatnatyam of both north and south India respectively. The musophonic syllables sung in fast tempo has made it enjoyable from a learned to a layman.
It is said that Tarana was popularized by Amir Khusrau , a great poet, musicologist lived in 14th century. Amir Khusrau was born in India from a Persian father and an Indian mother. Growing up in mixed culture made an easy access to both Indian and Persian music. He was appointed as Bard of Sultan of Delhi - Allaudin Khilji. Musicians coming to the darbar of sultan from all parts of India fervoured Khusrau's musical talent.Tarana , a word derived from Persian word Tarannum literary means a song. Amir Khusrau might have developed this form by blending a form prevailing in the society with a Persian mode of music. If we peep into the history of Indian musical forms, one can find a similar musical form named Kaivad Prabandh in' Sangeet Ratnakar , a book written by Sharangdeo in 12th century. Prabandh' the musical form sung in that period were composed by combining two parts, Dhatu and Ang. Kaivad Prabandh was composed by selecting three Ang namely, Tenak, Paat, and Swar out of six. Tenak refers to auspicious words, Paat or Paatakshara are the bols of Mridang,and Swar are the notes. Earlier to Ratnakar the famous book on Indian music, Natyashastra by Bharata had refered to similar form named Nirgeet, having same features. Hard consonants like Dingle, Zantu' , which were also called Shushkakshare, and the names of deities were included in the form. Both the above forms showed a great resemblance in the concept with Tarana . Amir Khusrau might had heard Kaivad Prabandh . He moulded it according to the music sung in the north . He might have substituted hard consonants to soft one, added phrases praising God in Persian language , put sargam bols of Mridang in the composition , increased the tempo and thus gave Tarana a new look . He might had observed that musaphonic sounds and fast tempo together mesmerized the listeners. So he thought to use this form to retain the ecstatic mood created by Quawwals in Khankah of his religious mentor, Sufi saint Auliya Nizammuddin Chisti . It is also said that the words like yalali ,Nadir, Derena, which seemed meaningless in Tarana ,carried meaning in Persian language like 'yalali- ya Ali , Nadir- unique ,Derena- Darina- old . But as the years passed by ,they lost their importance, and mere musical sound of the syllables gained its existence.
A very attractive and acrobatic musical form of Indian classical music has been challenging most of the stalwart musicians of today . Almost all the accomplished artists have had utmost pleasure in experimenting in Tarana . In Tarana one mostly finds different kinds of rhythmic patterns , layakaris formed through nom tom syllables and varieties of sargams exhibited in fast pace The tihaayees , intricate rhythmic patterns stunned the listeners of classical music.
The curves and corners of swar and laya improvised in different taals in all three layas ( Vilambit , Madhya , Drut ) gave a graceful aspect to the composition set in a raga . Improvisation through the syllables , sargams and Aakars allevate the form to a Nirakar state . Noted music scholar G.H . Ranade quoted that this form further influenced the Dhrupad style of singing. In other words Tarana could be said as presentation of nom tom set in a taal. Purity of raga and nom tom aalap in Dhrupad reflect the influence of Tarana , so also one can identify its footsteps in Zhala of an instrumental performance.
This nom tom aalap were further adapted in Agra Gharana of Khayal singing . Thus layakaris of Agra Gharana became one of its salient features .
Another special characteristics of Tarana are its racy taans . Taans like thunderous rain in Tarana enthrall the audience . Racy sequential taans perfectly fitted in the given space of a Aavartan excite the listeners, making the form more impressive . It is said that taan was incorporated in Khayal gayaki by Bade Mohammed Khan , Mubarak Khan of Kawwal Bacche Gharana . Haddu Khan and Hassu Khan of Gwalior Gharana learnt the forceful taan patterns from their uncle Bade Mohammed Khan , and in this way Tarana became an integral part of Gwalior Gharana . Pt. Vinayakbua Patwardhan brought this enchanting form in Maharashtra .
A Tarana exponents should have a flexible , strong voice , having a wide range upto three octaves . Perfect sense of space , speedy taan and extraordinary length of breath add to the beauty of it . The clear and graceful pronounciation of syllables in the composition makes it more enjoyable .
In over six hundred years, many experiments in structure, pace , presentation has made the form more lively . Along with frenzy Drut laya ,Taranas having Madhya laya, and Vilambit laya were also composed. Khayalnuma was one of the them . It couldn't gain popularity but Taranas set in different talas like Rupak, Zaptal , Ektal ,Adachoutal became popular . The Farmayishi Tarana [Tarana having meaning text in Persian] also has a special place in Gharana singers . Chatarang - a musical form having tarana as one of the four sections of the composition gave a new thought to the singers . In presentation the robostic nature of the tarana was changed to a softer one in some of the compositions
The tradition of Tarana singing which flourished during the period of great singers like Ustad Tanras Khan, Bahadur Khan , Natthu Khan, retained its popularity till 20th century by famous musicians like Salamat Ali and Nazakat Ali, Nissar Hussein Khan, Bade Ghulam Ali Khan, Amir Khan, Jitendra Abhisheki, and many more singers .Not only male but female singers like Sunanda Patnaik, Malini Rajurkar , Veena Sahasrabuddhe has mixed their own flavour in this vibrant form .
Courtesy :- Anjali Malkar (Pune)