Tanam is the most attractive and important item, especially in Veena. It is Madhyamakala raga alapana with varieties of rhythmic flow at medium speed. Tanam playing is best showcased when performed on the Veena, as the instrument\u2019s side strings (Tala strings) are particularly suited to this style of music.<\/p>\n
In Volume I of the book Sa\u1e45g\u012bta Samprad\u0101ya Pradar\u015bini by Subbar\u0101ma D\u012bk\u1e63itulu, it is explained that T\u0101na is a type of creative singing or playing that involves elaboration or expansion of M\u016brcchan\u0101. This is typically done at a middle tempo and involves multiplying or expanding swaras. If these embellishments are done in one raga, it is called \u015auddha t\u0101na, while if they are done in two ragas, it is called K\u016b\u1e6da t\u0101na. However, there is some disagreement over whether K\u016b\u1e6da t\u0101na can only be done in certain types of raga. The word T\u0101na is thought to be derived from the Sanskrit word \u2018aanantha\u2019 or \u2018ananta\u2019, which means happiness. In a T\u0101nam, the word T\u0101na is repeated many times in a stretched form to create special melodic effects in a raga.<\/p>\n
T\u0101nam is an important aspect of Manodharma Sangita, as it involves improvisation and creative expression in Indian classical music. Tanam is also described as MADHYAMA KALA LAYABADDA ALAPANA. The only syllables used to render T\u0101nam are Anantha and Nomtha with vowel elongations, and it is based on different patterns formed with the svaras. Although T\u0101nam is not bound by Tala, there is a rhythmic flow in rendering it. The playing of T\u0101nam involves rakti which helps to keep the listeners alert, and it involved presenting ragam in a quick tempo to prepare for the pallavi. T\u0101nam may be based on both raga and laya, and showcasing a variation in speed\/tempo in rendering T\u0101nam in madhyama k\u0101la or occasionally slowing brings out its characteristic. The syllables ta and nam are incorporated alternatively, with emphasis on the meetu, and two, three, four, five, and six phrases are improvised through permutation and combination of these phrases.<\/p>\n
The technique and use of the right-hand fingers are crucial when playing taanam. Specific strokes are used for certain letters, and it is important to avoid the simultaneous use of Lo Meetu and Side Meetu, as it can create a sound similar to JHAALA on Sitar. However, this practice is now commonly used. Like ragalapana, tanam also has a systematic pattern that should be followed.<\/p>\n
During the playing of tanam, prasthara should be done on the Jiva Swara of the raga being played. The Graha and Nyasa swaras of the raga should also be kept in mind while performing taana prasthara. Understanding the Raga Lakshana is crucial.<\/p>\n
Sancharam should start from Mandara Sthayi and proceed to the Madhyama Sthayi, with sancharas being done on the Jeeva swaras and raga chaya swaras only. Then, proceed to the Tara Sthayi, where sancharas should also be done on the jiva swaras before slowly coming down in avarohana order to complete the tanam. Throughout the entire performance, equal talent, raga bhava, and attraction (rakti) should be maintained, and the raga bhava should not be lost until the completion of the tanam.<\/p>\n
Different types of t\u0101na exist, and they are categorized based on group patterns of swaras that can be presented in a specific style of exposition. There are eight recognized varieties of T\u0101nam, out of which six of them are named after animals and birds, which reflect their characteristic gaits and are interesting from the viewpoint of rhythm. The eight types of T\u0101nam include Manava t\u0101na, Aswa t\u0101na (Horse), Gaja t\u0101na (Elephant), Marakata t\u0101na (Monkey), Mayura t\u0101na (peacock), Kukuta t\u0101na (Cock), Manduka t\u0101na (frog), and Chatra t\u0101na. This\u00a0can be distinguished based on the plucking of strings, which is also known as the meetu of strings. The meetu\u2019s are classified into four categories: Sadha meetu, Jalra meetu, Ottu meetu, and Karthari meetu.<\/p>\n
Other types of meetu include:<\/p>\n
Varieties of Tanam<\/p>\n
IT IS IMPORTANT TO NOTE THAT BHARATA MUNI HAS MENTIONED 84 VERIETIES OF tANAM<\/p>\n","protected":false},"excerpt":{"rendered":"
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