singing. The artist has to compose that particular part of the poem in the same Raag whose name appears there. The main attraction of the Raagmala composition is, when the vocalist sings or changes one raga from another raga. Here the artistic skill or approach plays a most important role. The flow must be natural as well as beautiful, too. Only experienced and skillful classical vocalists can sing Raagmala effectively.
Indian Classical Music By Anita Kulkarni Tarana Tarana is a very popular form in Hindustani classical music but it is slowly being forgotten. The Tarana contains Persian and Arabic phonemes like tom, nom, yalali, dir, dirdir, naa, derena, deem, tadeem, yallallah, yallallom, however, these syllables or words are not meaningless. Dar aa, dar aa means “come to me, come to me,” yallallom means “YaaAli, YaaAli” and some rhythmic words based on tabla like taa, daa, tirkit, kadit, dit, kitatak, etc. The story behind the creation of tarana is intriguing: it is said that Gopal Nayak was a leading musician and 13th century contemporary to Amir Khusrow, who was a Persian poet at the court of Allauddin Khilji and also a talented musician. Gopal Nayak had a very large number of followers and disciples and was highly respected by them. In one music competition at Allaudin Khilji’s court, it had come down to two finalists: the Hindu musician Nayak and Muslim musician Khusrow. Gopal Nayak sang a very fast Pada in Sanskrit, knowing quite well that Amir Khusrow did not know the language. Khusrow then sang the same song, note for note, but substituted Persian words for the Sanskrit. The resulting performance was thrilling even though it was unintelligible. In this way Amir Khusrow won the competition and invented tarana, which is nothing but a Persian song. The structure of tarana is same as a chota khyaal in most of the Ragas. Tarana is usually sung in medium and fast tempo, with variation and fast elaboration being the performer’s choice. There is a second contrasting melody, usually with higher notes, that is introduced once and goes back to the main melody. Tarana is the most entertaining form only because of fast taana, boltaana, and words. The tarana is most commonly associated with Ustad Amir Khan, who did a lot of research on it and helped popularize it in 19th century.
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Raag - Bilaawal Tarana in Taal Tentaal (medium tempo) Sthaai: -Tana naadere dere dere tadaani dim tananaa tadare daani dim tadernaa. Antara: - Naadir dir daani tundirdir daani tana tundir dhetelaan dhetelaan tanana tadaare daani tadare daani dim. Contemporary vocalists like to sing Tarana, as it’s a totally different style of singing than khyaal. Sometimes, vocalists like to conclude the Raga presentation with one tarana. It adds a pleasing effect to their concert. Raagmala “Raag” is a melody and “mala” means series. It is easy to sing one Raga. But it is very difficult to sing many Ragas in one composition. This style of singing is tough to perform. It is rarely available to listen. Someone who has mastered so many ragas, with best control over swaras and different similar scales and capable of entering from one mood to another can perform this style of March 2010
Saathee 28
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