Gwalior gharana
Encyclopedia
The Gwalior Gharana is one of the oldest Khyal
Gharana
s. The rise of the Gwalior Gharana started with the reign of the great Mughal
emperor Akbar (1542–1605). The favorite singers of this patron of the arts, such as Miyan Tansen, first amongst the vocalists at the court, came from the town of Gwalior.
kings Ustad Nathan Pir Bakhsh and his maternal grandsons were the legendary Haddu, Hassu and Nathu Khan. The main musician in the court at the time was Ustad Bade Mohammad Khan who was famous for his taanbaazi. Both Ustad Bade Mohammad Khan and Ustad Nathan Pir Bakhsh belonged to the same tradition of Shahi Sadarang.
Some sources believe that Ustad Nathan Pir Bakhsh settled in Gwalior and evolved the style features that led to this gharana. Others claim that individuals named Nathan Pir Bakhsh and Nathu Khan founded the gharana. The accepted version is that Nathan Pir Baksh left Lucknow
in Uttar Pradesh
to escape the professional rivalry with Ustad Shakkar Khan that had taken an ugly turn. He arrived in Gwalior with his maternal grandsons Haddu Khan and Hassu Khan.
Another great khyal singer, also originally from Lucknow, was Ustad Bade Mohammed Khan who brought the Taan
into khyal singing. Haddu Khan and Hassu Khan further enhanced the style of the Gwalior gharana as we recognize it today. Hassu Khan died prematurely. Haddu Khan's son, Rehmat Ali Khan (1852–1922) was a widely acclaimed singer who liberated the Gwalior style from the methodical form it followed to the emotional style that he preferred.
s so that the listener is saved the effort of trying to identify the raga
. While the khyal singer does include "Raga Vistar" (melodic expansion) and "Alankar" (melodic ornamentation) to enhance the beauty and meaning of the raga
, there is no attempt to include the "Tirobhava" (using melodic phrases to obscure the identity of the raga) feature in the interest of adding interest or mystery to the listener's experience.
The singing itself places Bandish
(the composition) at the heart of the presentation because of the gharana's belief that the full melody of the raga and guidance on its singing is provided by the bandish. The asthayi section is sung twice before the antara, to be followed by swar-vistar in medium tempo. This slow rendition of the notes is known as the Behlava, and is sung from Ma in the lower register to Pa in the higher register, following the pattern of the Aaroha (ascent) and Avaroha (descent) of the raga. The behlava is divided into the asthayi (from Ma to Sa) and antara (from Ma, Pa, or Dha to Pa of the higher register). The Dugun-Ka-Alap follows in which groups of two or four note combinations are sung in quicker succession but the basic tempo remains the same.
The Bol-Alap is next in which the different words of the text are sung in different ways, to be followed by Murki
s in which notes are sung with ornamentation to a faster pace. Bol-Taans entail the formation of melodic sequences with the words of the song. The other Taans, including the Gamak
, follow.
The Sapat Taan is important to the Gwalior style and refers to the singing of notes in a straight sequence and at a Vilambit
pace. Both Dhrupad
and khyal singing evolved in Gwalior and there are many overlaps. In the khyal style there is one form, Mundi Dhrupad, that incorporates all the features of dhrupad singing but without the Mukhda.
Common ragas include Alhaiya Bilawal, Yaman
, Bhairav, Sarang
, Shree, Hameer
, Gaud Malhar, and Miya Ki Malhar
.
Khyal
Khyal is the modern genre of classical singing in North India. Its name comes from an Arabic word meaning "imagination". It is thought to have developed out of the qawwali singing style. It appeared more recently than dhrupad, is a more free and flexible form, and it provides greater scope for...
Gharana
Gharana
In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one...
s. The rise of the Gwalior Gharana started with the reign of the great Mughal
Mughal Empire
The Mughal Empire , or Mogul Empire in traditional English usage, was an imperial power from the Indian Subcontinent. The Mughal emperors were descendants of the Timurids...
emperor Akbar (1542–1605). The favorite singers of this patron of the arts, such as Miyan Tansen, first amongst the vocalists at the court, came from the town of Gwalior.
History
During the time of MughalMughal Empire
The Mughal Empire , or Mogul Empire in traditional English usage, was an imperial power from the Indian Subcontinent. The Mughal emperors were descendants of the Timurids...
kings Ustad Nathan Pir Bakhsh and his maternal grandsons were the legendary Haddu, Hassu and Nathu Khan. The main musician in the court at the time was Ustad Bade Mohammad Khan who was famous for his taanbaazi. Both Ustad Bade Mohammad Khan and Ustad Nathan Pir Bakhsh belonged to the same tradition of Shahi Sadarang.
Some sources believe that Ustad Nathan Pir Bakhsh settled in Gwalior and evolved the style features that led to this gharana. Others claim that individuals named Nathan Pir Bakhsh and Nathu Khan founded the gharana. The accepted version is that Nathan Pir Baksh left Lucknow
Lucknow
Lucknow is the capital city of Uttar Pradesh in India. Lucknow is the administrative headquarters of Lucknow District and Lucknow Division....
in Uttar Pradesh
Uttar Pradesh
Uttar Pradesh abbreviation U.P. , is a state located in the northern part of India. With a population of over 200 million people, it is India's most populous state, as well as the world's most populous sub-national entity...
to escape the professional rivalry with Ustad Shakkar Khan that had taken an ugly turn. He arrived in Gwalior with his maternal grandsons Haddu Khan and Hassu Khan.
Another great khyal singer, also originally from Lucknow, was Ustad Bade Mohammed Khan who brought the Taan
Taan
You may be looking for either:*Taan , a virtuosic technique used in North Indian classical vocal music*Faerûn - A region of the Dungeons & Dragons Forgotten Realms Campaign Setting. It includes the Endless Wastes, the Quoya Desert, Ejen Horo, and the Plain of Horses...
into khyal singing. Haddu Khan and Hassu Khan further enhanced the style of the Gwalior gharana as we recognize it today. Hassu Khan died prematurely. Haddu Khan's son, Rehmat Ali Khan (1852–1922) was a widely acclaimed singer who liberated the Gwalior style from the methodical form it followed to the emotional style that he preferred.
Singing Style
A distinguishing feature of the gharana is its simplicity, and one means to this is the selection of well-known ragaRaga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
s so that the listener is saved the effort of trying to identify the raga
Raga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
. While the khyal singer does include "Raga Vistar" (melodic expansion) and "Alankar" (melodic ornamentation) to enhance the beauty and meaning of the raga
Raga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
, there is no attempt to include the "Tirobhava" (using melodic phrases to obscure the identity of the raga) feature in the interest of adding interest or mystery to the listener's experience.
The singing itself places Bandish
Bandish
Bandish, Cheez or Gat is a fixed, melodic composition in Hindustani vocal or instrumental music. It is set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhavaj, a steady drone, and melodic accompaniment by a sarangi, violin or harmonium. There are different ways of...
(the composition) at the heart of the presentation because of the gharana's belief that the full melody of the raga and guidance on its singing is provided by the bandish. The asthayi section is sung twice before the antara, to be followed by swar-vistar in medium tempo. This slow rendition of the notes is known as the Behlava, and is sung from Ma in the lower register to Pa in the higher register, following the pattern of the Aaroha (ascent) and Avaroha (descent) of the raga. The behlava is divided into the asthayi (from Ma to Sa) and antara (from Ma, Pa, or Dha to Pa of the higher register). The Dugun-Ka-Alap follows in which groups of two or four note combinations are sung in quicker succession but the basic tempo remains the same.
The Bol-Alap is next in which the different words of the text are sung in different ways, to be followed by Murki
Murki
Murki is a short taan in Hindustani classical music. It is often delivered in rapidfire tempo, and is employed in thumris and other lighter genres. Other taans used in thumri gyaki include the khatka and the zamzama....
s in which notes are sung with ornamentation to a faster pace. Bol-Taans entail the formation of melodic sequences with the words of the song. The other Taans, including the Gamak
Gamak
Gamaka, also known as gamak or gamakam, refers to ornamentation that is used in the performance of Indian classical music. The unique character of each raga is given by its gamakas, making their role essential rather than decorative in Indian music...
, follow.
The Sapat Taan is important to the Gwalior style and refers to the singing of notes in a straight sequence and at a Vilambit
Vilambit
Vilambit is an introductory slow tempo, or laya, between 10 and 40 beats per minute, used in the performance of a raga in Hindustani classical music. For major ragas, the vilambit portion generally takes up two-thirds or more of the performance, and is followed by a short drut to conclude the...
pace. Both Dhrupad
Dhrupad
Dhrupad is a vocal genre in Hindustani classical music, said to be the oldest still in use in that musical tradition. Its name is derived from the words "dhruva" and "pada"...
and khyal singing evolved in Gwalior and there are many overlaps. In the khyal style there is one form, Mundi Dhrupad, that incorporates all the features of dhrupad singing but without the Mukhda.
Common ragas include Alhaiya Bilawal, Yaman
Yaman
*Yaman , a raga in Hindustani classical music*Yemen*Yaman ; a political party in 19th and early 20th century in Palestine. The adversaries of the Qays , or Qais, see Husayni...
, Bhairav, Sarang
Sarang
Sarang is the helicopter formation display team of the Indian Air Force.The team flies four HAL Dhruvs. The name Sarang is symbolic as it is the national bird of India. The team was formed in October 2003 and their first public performance was at the Asian Aerospace Show, Singapore, 2004...
, Shree, Hameer
Hameer
Raga Hameer is a nocturnal Hindustani Classical Raga nominally placed in the thaat Kalyan. All the shuddha swaras along with teevra madhyam are used in it...
, Gaud Malhar, and Miya Ki Malhar
Malhar
Malhar is an old raga in Indian classical music. Malhar is associated with the atmosphere of torrential rains.- Legend :According to the legend, Malhar is so powerful that when sung, rain falls from the sky....
.