This term originates from the root 'Tan,' meaning 'to be spread.' Consequently, anything that 'spreads' a Rāga is referred to as Tāna. In a metaphorical sense, this term can signify the act of composing extemporaneously, commonly known as Vistāra.

Classical texts identify two types of Tāna:

- Ṥuddha, where the notes are employed in a natural order, such as SGPD,
- Kūṭa, where any order that does not adhere to the natural sequence is used, for example, SPGD.

Various nomenclatures exist based on the number of notes utilized, including:

- Ārcika Tāna, utilizing a single note, where Ārcika stems from the enunciation of mantras employing a single tone,
- Two-note Gāthika, named after the Gāthā rhythm,
- Sāmika, deriving its name from the SāmaVeda, employing three tones,
- Svarātaras, originating from the intermediate section of a scale, specifically the fourth degree,
- Five-note Auḍuva,
- Six-note Ṣāḍavas,
- Seven-note Sampūrṇa.

Each seven-note scale can feature seven Mūrcchanā, one for each note, irrespective of whether the scale includes accidentals. Furthermore, various combinations following Ṥuddha or Kūṭa trends can be derived from each seven-note scale. These combinations are termed Prastāra. In the case of a seven-note scale, there are five thousand and forty Prastāras, and considering various Mūrcchanā, there are three million seventeen thousand nine hundred twenty-seven distinct combinations of seven notes with a Kūṭa trend. Notably, Prastāras for three and four notes include one for Ārcika Tāna, two for Gāthika, one hundred and twenty for Auḍuva, seven hundred and twenty for Ṣāḍavas, and as mentioned earlier, five thousand and forty for Sampūrṇa.

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Sāmika Prastāra

SRG, RSG, SGR, GSR, RGS, GRS

Svarātara Prastāra

1.SRGM        2.RSGM      3.SGRM     4. RGSM     5.GSRM      6.GRSM

7.SRMG        8.RSMG      9.SMRG     10.MSRG   11.RMSG     12.MRSG

13.SGMR     14.GSMR     15.SMGR     16.MSGR    17.GMSR   18.MGSR

19.RGMS    20.GRMS     21.RMGS    22.MRGS    23.GMRS   24.MGRS

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It is important to highlight that the first and last models are categorized as Ṥuddha, whereas all the others fall under the Kūṭa classification. The systematic arrangement of these combinations is compiled in a table known as Khaṇḍmeru or Mīḍkhaṇḍa.

In Khayal practice, two primary categories of Tāna are commonly observed:

1. Bola Tāna, where the emphasis lies on the enunciation of syllables in vocal Tāna or the prominence of Bola in instrumental Tāna, all while maintaining attention to the melody.

2. Svara Tāna, wherein the melody serves as the exclusive focal point of interest for the listener.

The potential for crafting patterns within Tāna is nearly limitless, often exhibiting diverse nomenclatures and structures across various schools.

Listed below are potential reference models:

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1 Āśā - A glissando between two notes where the interval is prolonged.

2 Bakrā - Applied in vocalization, where each note is individually articulated with a subdued voice to replicate the resonance resembling that of a goat.

3 Bal - GMPM GMPM RGŅS

4 Balsapāṭa - DNṠṘ ĠṘDĠ ṘṠND PMGR  S

5 Bharat - SRGM RG GMP GMGR S

6 Biḍār - SRG ḌṆS PMG RSŅ GRS PḌŅ S. Unexpected. In its pure form S and P are omitted.

7 Bijalī - ṖṀṘĠ ṠNDP MGRS. It is a variety of Sapat but faster.

8 Bolatāna - Articulation of the lyrics in the sung text.

9 Caḍti - SRS GRG PDP Ṡ

10 Cakkara - SGRS RMGR GPMG MDPM

11 Chūṭ - ṠṘĠ SRG NDPM GRS

12 Dhaḍkā - SS RR GG MM PP DD N DP MG RS

13 Ḍolnā - ṠṠ DD NN PP DD MM PP GG MG RS

14 Gajatāna - SGR RMG GPM MDP. Performed at high speed.

15 Gamakī - G^^GRS N^^ND M^^M GRS.Using the Gamaka technique.

16 Ghis - Like the Suṁt but without the accent.

17 Guthāva - Ġ-ĠṘ ṠN, Ṙ- ṘṠ ND, N – ND PM, D – DP MG PM GR S

18 Halaka - Sung with the lower part of the throat

19 Halkā - ND PM GR S, DP MG RS PM GR S, MG RS, GR S, RS

20 Havāī - SR GM GR, MP DN DP, NṠ ṘĠ ṘṠ, ND PM GR S

21 Joḍ - SSRR SSGG RRGG RRSS

22 Kaḍkā - GG RG GG. MM GM MM, PP MP PP. DD PD DD, NN DN ŚŚ

23 Kadmā o anche Phulajhuḍī - ṠṘṠN DNṠṘ ṠN  DNṠṘ ĠṘṠN DNDN ĠṘṠN

24 Kākī -Produce an effect similar to the cawing of a crow

25 Kampita - ĠĠĠĠ ṘṘṘṘ  ṠṠṠṠ NNNN, Using the Gamaka technique.

26 Khaṭaka - SR GG RS, MM RG RS, PD PM RG RS

27 Khaṭkā - SR RG GM MP DN ŚN ND DP PM MG GR RS

28 Kheḍ - The omission of one or more notes due to error.

29 Huli - Using the vowels 'A' and 'O'

30 Koyel - S G -, G P -, P N -,  N Ṡ-

31 Kūta - S R – R, G M – M, P D – D, N Ṡ - Ṡ

32 Laḍī - GR GM PM GR, GM PG MG PM GR, GM GR PM GR S

33 Laḍī-Lapeṭ - SRGM PMGR GMPM GR GMGR GRSṆ S

34 Laḍī-Phirat - GMGR MGR MGR GMGR DPMG RS

35 Laḍī-Sapāṭa - SRGS RGSR GMPM GRSṆ DPMG RS

36 Lapaka - SG RM GP MD PN DṠ

37 Lapeṭa - SR GM GR, GM PD PM, DN ṠṘ, ṠN, DN DP MP MG RG RS

38 Mār - SRGM RGMP GMPD MPDN. With slow and sinuous movements

39 Mīḍ - RGMP MGRSusing the glissando technique

40 Mīḍkhaṇḍī - DNṠṘ DṘNṠ NDṠṘ  DNṘṠ  DṘṠN ṘṠND

41 Miskī - Prodotto con voce smorzata

42 Miṭ - The arrangement of notes and syllables intertwined in a manner that causes them to lose their distinct identity.

43 Mudi - Using the vowels 'A', 'I', 'U' and the diphthong 'AU'

44 Mūraka - ṠNṘṠ NDṠN DPND MGPM GRMG RSGR S

45 Mūrkī - ŚNŔŚ NŚ PMDP MP GRMG RG SṆRS ṆS

46 Nākī - Nasal sound production. It should be considered a flaw.

47 Paṭaka - S – R, R- G, G – M, M - P

48 Pālṭi - SRGM MGRS GMPD DPMG

49 Phandā - NN DP MG RS, ṠṠ NN DP MG RS, ĠĠṘṠ ND PM GR S

50 Phikrābandī - PM GP MG RG RM RG MP PM P MP. An unexpected combination of notes.

51 Phirkat - SR GM GR, GM PM GR, GM PD ND PM GR

52 Reraka - ṠN ND DP PM, Gamaka technique distinguishes it from Khaṭkā

53 Sapāṭa - ṠNDP MGRS ; ṖṀĠṘṠNDPMGRS ṆḌ

54 Sphurita   S- S R--, R- R G –, G-G M --

55 Sumiṭa - Un altro nome del Miṭ

56 Suṁt - SP  PMGR  S. Like the Mīḍ but imitating the Āśā with a slightly prolonged glissando.

57 Suṁtkārī - ṠŔ ṠṠ ND PM GR S, passing the exhalation from the palate

58 Tākī -Expressed with the vowel 'e'

59 Tāṅgan - Which resembles the neighing of a horse

60 Ṭhoka - ĠĠ - Ġ – Ṙ Ṡ N, ṠṠ – Ṡ – N D P

61 Ulṭi - GM RG SR ṆS ḌṆ P̣Ḍ ṂḌ P̣

62 Upaja - PMGRS, RGMGRS

63 Uṭ - DD PP MGRS ṆS

64 Utarti - ṠNṠ DPD GRG S

65 Vartaniā - SRG RGM GMP MPD

66 Yugala Bandha - a. a variety of Bolatāna b. ṠNDP ṠNDP NDPM NDPM GRSṆ GRSṆ S

67 Zābḍā - Where the jaw swings considerably

68 Zamzamā - SRSR SGRG SRSR SMGM PPPP MMMM GGGG RR S

69 Zhapak - S   R   G   M   DPMG  RS. Where the first part is slow and the second fast.

70 Zhar - PP GG DD MM GG NN DD PP GG RR SS RR GG

71 Zhaṭak - SR GM DPMG RS, P MGRS, N DPMGRṆS

72 Zhaṭkā - GGG GGG GGRS ṆS