Tarana is a type of composition in Hindustani classical vocal music in which certain words (e.g. "odani", "todani", "tadeem" and "yalali") based on Persian and Arabic phonemes are rendered at a medium ( madhya laya ) or fast ( drut laya ) rate. It was invented by Amir Khusro (1253-1325 CE). In modern times, the singer Amir Khan helped popularize it and researched its origins and the syllables used. Nissar Hussain Khan was a tarana singer. Tarana was also used by Sikh tenth Guru Gobind Singh in his compositions.
8-406: A second, contrasting melody, usually with higher notes, is introduced once before returning to the main melody. The tarana may include a Persian quatrain , and may use syllables from sitar or tabla such as "dar-dar" or "dir-dir"; singers might recite full compositions (e.g. tihais, gats, tukdas) within the body of the tarana. Thakur Jaidev Singh , a commentator on Indian music, said: [Tarana]
16-399: A Persian ruba'i , which is used for all four lines of the above quatrain by Rumi, is, as follows: In the above scheme, quantitatively, "–" represents a long syllable, and "u" a short one. As variations of this scheme, any sequence of – u, except the final syllable of each line, can be replaced by a single "overlong" syllable, such as gēkh , tīf , luṭf in the poem above, containing either
24-432: A long vowel followed by a consonant other than "n", or a short vowel followed by two consonants. An overlong syllable, as mentioned, can freely be substituted for the final syllable of the line, as with bād above. Another variation, as a poetic licence rule, is that occasionally a sequence of two short syllables (u u) can be replaced by a single long one (–). A third variation is to use the same metre as above, but with
32-516: Is a poem or a verse of a poem in Persian poetry (or its derivative in English and other languages) in the form of a quatrain , consisting of four lines (four hemistichs ). In classical Persian poetry , the ruba'i is written as a four-line (or two- couplet / two- distich ) poem, with a rhyme-scheme AABA or AAAA. This is an example of a ruba'i from Rumis's Divan-e Shams : The usual metre of
40-430: The form and, to varying degrees, the content of his stanzas, including The Rubaiyat of Ohow Dryyam , The Rubáiyát of a Persian Kitten , The Rubaiyat of Omar Cayenne and The Rubaiyat of Omar Khayyam Jr. In extended sequences of ruba'i stanzas, the convention is sometimes extended so that the unrhymed line of the current stanza becomes the rhyme for the following stanza. The structure can be made cyclical by linking
48-488: The sixth and seventh syllables reversed: The verse form AABA as used in English verse is known as the Rubaiyat Quatrain due to its use by Edward FitzGerald in his famous 1859 translation, Rubaiyat of Omar Khayyam . Algernon Charles Swinburne , one of the first admirers of FitzGerald's translation of Khayyam's medieval Persian verses , was the first to imitate the stanza form, which subsequently became popular and
56-829: Was entirely an invention of Khusrau... True, Khusrau had before him the example of Nirgit songs using śuṣk-akṣaras (meaningless words) and pāṭ-akṣaras (mnemonic syllables of the mridang)... But generally speaking, the Nirgit used hard consonants. Khusrau... introduced mostly Persian words with soft consonants. Secondly, he so arranged these words that they bore some sense. 23°19′48″N 76°01′48″E / 23.33000°N 76.03000°E / 23.33000; 76.03000 Ruba%27i A rubāʿī ( Classical Persian : رباعی , romanized : rubāʿī , from Arabic رباعيّ , rubāʿiyy , 'consisting of four, quadripartite, fourfold'; plural: رباعيّات , rubāʿiyyāt ) or chahārgāna (Classical Persian: چهارگانه )
64-550: Was used widely, as in the case of Robert Frost 's 1922 poem " Stopping by Woods on a Snowy Evening ". Come, fill the Cup, and in the fire of Spring Your Winter-garment of Repentance fling: The Bird of Time has but a little way To flutter—and the Bird is on the Wing. FitzGerald's translation became so popular by the turn of the century that hundreds of American humorists wrote parodies using
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