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The Gwalior Gharana is one of the oldest Khayal Gharanas and one to which most classical Indian musicians can trace the origins of their style to this Gharana. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular The rise of the Gwalior Gharana started with the reign of the great Mughal emperor Akbar (1542-1605). Akbar redirects here For other uses see Akbar (disambiguation Jalaluddin Muhammad Akbar ( Jalāl ud-Dīn Muhammad Akbar 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. Tansen or Miyan Tansen or Ramtanu Pandey (1493 or 1506 &ndash 1586 or 1589 is considered among the greatest composer-musicians in Hindustani classical music WikipediaWikiProject Indian cities for details --> Gwalior ( Hindi: ग्वालियर) is a city in Madhya Pradesh in India

History

Some sources believe that Nathan Khan and Peer Baksh settled in Gwalior and evolved the style features that led to this Gharana. WikipediaWikiProject Indian cities for details --> Gwalior ( Hindi: ग्वालियर) is a city in Madhya Pradesh in India In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular Others claim that individuals named Nathan Peer Baksh and Nathe Khan founded the Gharana. In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular The accepted version is that Nathan Peer Baksh left Lucknow,in Uttar Pradesh, to escape the professional rivalry with Shakkar Khan that had taken an ugly turn. Lucknow is also a mansion in New Hampshire Lucknow ( लखनऊ لکھنؤ Lakhnaū) is the capital city of Uttar Pradesh Uttar Pradesh (उत्तर प्रदेश اتر پردیش pronounced, Translation: Northern Province) referred to as '''U He arrived in Gwalior with his grandsons Haddu Khan and Hassu Khan. WikipediaWikiProject Indian cities for details --> Gwalior ( Hindi: ग्वालियर) is a city in Madhya Pradesh in India

Another great Khayal singer, also originally from Lucknow, was Bade Mohammed Khan who brought the Taan into Khayal singing. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Lucknow is also a mansion in New Hampshire Lucknow ( लखनऊ لکھنؤ Lakhnaū) is the capital city of Uttar Pradesh Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Haddu Khan and Hassu Khan further enhanced the style of the Gwalior Gharana as we recognize it today. The Gwalior Gharana is one of the oldest Khayal Gharanas and one to which most classical Indian musicians can trace the origin of their style Haddu Khan's son, Rahimat 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

Apart from the emphasis Swara, another distinguishing feature of the Gharana is its simplicity because through simplicity alone can the singer and the listener arrive at the full beauty and impact of the Raga. for the town in Nepal see Swara Nepal The notes or swaras, of Indian music are shadja rishabh gandhar madhyam pancham dhaivat and nishad In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used One means to this is of course the selection of well-known Ragas so that the listener is saved the effort of trying to identify the raga. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Attention can be focussed on the Raga and the presentation of it. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used While the khayal singer does include "Raga Vistar" (Melody Expansion) and "Raga Alankaar" (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. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used

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. In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used The Sthaayi section is sung twice before the Antaraa, to be followed by the slow tempo of the Swara Vistar (note expansion). 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. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used

The Behlava is divided into the Sthaayi (from Ma to Sa) and Antaraa (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. Thus the Tabla Theka is left unaltered. This article is about the Indian drum For the drum with the same name in Arabic, see Goblet drum.

The Bol-Alap is next in which the different words of the text are sung in different ways, to be followed by Murkis 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. In Hindustani music, gamak refers to the variation of pitch of a note

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. Vilambit ( Hindi: hi विलंबित also called vilambit laya) is an introductory slow tempo or laya, used in the performance Both Dhrupad and Khayal singing evolved in Gwalior and there are many overlaps. This article is about Dhrupad the genre of Indian classical singing Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. In the Khayal style there is one form, Mundi Dhrupad, that incorporates all the features of Dhrupad singing but without the Mukhda. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. This article is about Dhrupad the genre of Indian classical singing The Gwalior Gharana usually prefers to begin Ragas in the medium tempo Madhyalaya rather than the slow tempo Vilambit as is the same with other Gharanas. WikipediaWikiProject Indian cities for details --> Gwalior ( Hindi: ग्वालियर) is a city in Madhya Pradesh in India In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Vilambit ( Hindi: hi विलंबित also called vilambit laya) is an introductory slow tempo or laya, used in the performance In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular

The chosen ragas include Alhaiya Bilawal, Yaman, Bhairav, Sarang, Shree, Hamir, Gaud Malhar, and Miya Ki Malhar. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Bhairava (Sanskrit sa भैरव "Terrible" or "Frightful" sometimes known as Bhairo or Bhairon or Bhairadya, is the fierce manifestation Sarang ( Sanskrit: सारंग - Peacock) is the Helicopter formation display team of the Indian Air Force. SRi is a specification (spec badge given to mid-sized or larger cars which are fitted with performance engine suspension or other performance enhancements as standard

Major Artists

—Ustad Amjad Ali Khan -Amanat Ali Bangash -Ayaan Ali Bangash

Pandit Satyasheel Deshpande (born January 9, 1951) is an Indian musician who specializes in singing Khyal.
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