The Alap ( / æ ˈ l ɑː p / ; Hindustani: [aːˈlaːp] ) is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga . In dhrupad singing the alap is unmetered, improvised (within the raga) and unaccompanied (except for the tanpura drone ), and started at a slow tempo. For people unfamiliar with the raga form, it introduces the thaat to the listener. It defines the raga, its mood, and the emphasized notes and notes with a secondary role.
18-518: The Maihar Gharana or Maihar-Senia Gharana is a gharana or school of classical music , a style of Indian classical music originating in the northern parts of the Indian subcontinent. The school was formed by Allaudin Khan in the princely state of Maihar , now in the central Indian state of Madhya Pradesh , and hence the name. Allauddin Khan learnt music from Vina player Wazir Khan , an exponent of
36-464: A time, so that phrases never travel further than one note above or below what has been covered before. In such cases, the first reach into a new octave can be a powerful event. In instrumental music, when a steady pulse is introduced into the alap, it is called jor ; when the tempo has been greatly increased, or when the rhythmic element overtakes the melodic, it is called jhala (dhrupad: nomtom ). The jor and jhala can be seen as separate sections of
54-565: Is also known for its versatility, not only known for its Khayal singing but also for venturing into other forms of classical music and placing a strong foothold there as well. Emphasis on voice development, roughly similar emphasis on melody and rhythm, bol-baant-like sargam with occasional tonic transpositions, occasional use of bol-taan, variety of taans, fast sargam and taan patterns, may or may not include antara, influence of tappa style The dhrupad tradition includes four original styles: Today's surviving dhrupad traditions are descendants of
72-421: Is perfect intonation of notes and emphasis on melody, Also, Slow-tempo raga development, long and sustained pitches, usually traditional ragas, use of sargam, very little bol-baant, clarity of text pronunciation, use of some Carnatic ragas and raga features, emphasis on vocal as opposed to instrumental form. Highly decorative and complex taans. Amir Khan (Highly Influenced from Bhendibazar Gharana) This Gharana
90-803: The Senia gharana . The Maihar gharana is therefore sometimes referred to as the Maihar-Senia gharana . It is one of the most prominent gharanas of the 20th century; much of the fame of Hindustani classical music in the west stems from this gharana. Prominent musicians belonging to the Maihar gharana include prominent sitar players Ravi Shankar , Nikhil Banerjee , Allauddin Khan's son sarod player Ali Akbar Khan , daughter Annapurna Devi and grandsons Aashish Khan , Dhyanesh Khan, Pranesh Khan, Rajesh Ali khan, Alam Khan, Manik Khan and Shiraz Ali Khan. Other prominent musicians with links to this gharana include
108-1130: The sarod player Bahadur Khan , Sharan Rani , Vasant Rai , Kamlesh Moitra , Kamal Mallick , Rajesh Chandra Moitra , Rajeev Taranath , Tejendra Narayan Majumdar , Debanjan Bhattacharjee , Pratik Srivastava , Soumava Bhusan Chakraborty , Pradeep Barot , Shamim Ahmed, Gourab Deb, Damodar Lal Kabra, Apratim Majumdar , Vikash Maharaj , Jyotin Bhattacharya , Abhisek Lahiri , Vishal Maharaj , B.N.Choudhury ,and Basant Kabra, violinist V. G. Jog , Sishir kona Dhor Chowdhury , Indradip Ghosh , Souvik Chakrabortty , guitarists Brij Bhushan Kabra , Vishwa Mohan Bhatt and his nephew Krishna Bhatt , Manju Mehta , flautists Pannalal Ghosh , Hariprasad Chaurasia , Nityanand Haldipur , Rupak Kulkarni , Rakesh Chaurasia , Milind Date , Vivek Sonar , MILIND SHEOREY and Ronu Majumdar , and sitar players Chandrakant Sardeshmukh , Kartick Kumar and his son Niladri Kumar , Kushal Das , Jaya Biswas , Abhishek Maharaj , Bhaskar Chandavarkar , Indraneel Bhattacharya , Sudhir Phadke , Sandhya Phadke-Apte Musicians belonging to
126-623: The sthayi and antara , whether to sing an unmetered alap in the beginning, what kinds of improvisations to use, how much importance to give to the rhythmic aspect, and so on. However, an individual performer from a gharana may choose to borrow appealing stylistic aspects of another gharana in his or her gayaki (singing style). There are ten prominent khyal gharanas, and they are: & His 12 Students (Shah Bhikan) Taj Khan (Rang Rus) Sheikh Ajmal (Miyan Achpal) Mir Qutub Baksh (Miyan Tanras) Haji Muhammed Siddiq Khan, Muzaffar Khan Members of this gharana approach raagdari with more freedom than
144-465: The Hindi word 'ghar' which means 'house'. It typically refers to the place where the musical ideology originated; for example, some of the gharanas well known for singing khyals are: Delhi, Agra, Gwalior, Indore, Atrauli-Jaipur, Kirana and Patiala. Four famous kathak gharanas are: Lucknow, Atrauli-Jaipur, Benares and Raigarh. The gharana system in khyal was rooted in the guru–shishya tradition and
162-908: The Jaipur-Atrauli gharana, the Lucknow gharana, the Benares gharana (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively.) and the Raigarh gharana (born in the court of Maharaja Chakradhar Singh of Raigarh.) The Lucknow gharana remains the most popular throughout the country. However, in recent time the Atrauli-Jaipur gharana has caught up and today most performers throughout India perform techniques belonging to both styles. With amalgamation of
180-582: The Patiala gharana makes its impact, departing from the khyal -dominated Benares thumris and the dance-oriented Lucknow thumris . The Benares gharana was founded by Kirtankars in the 13th century and revived by Siddheshwari Devi , Rasoolan Bai , Badi Moti Bai, Mahadev Mishra, Girija Devi (mid-20th century) and Savita Devi. The following are the six widely accepted gharanas (ordered based on chronology of founding): In Kathak performers today generally draw their lineage from four major schools of Kathak:
198-530: The aforementioned four styles. In the Benares gharana, the words in the text of a song are musically embellished to bring out their meaning, while the Lucknow gharana presents intricately embellished and delicate thumris that are explicit in their eroticism. The principal feature of the thumri of the Patiala gharana is its incorporation of the tappa from the Punjab region. It is with this tappa element that
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#1732779537074216-409: The dhrupad-informed gharanas, like Gwalior , Jaipur , and Agra . Emphasis on bhav and exposition are the hallmarks of this style. In addition to extensive khayal compositions, the gharana is known for its qawwals . Sawai Gandharva , Bhimsen Joshi , Prabha Atre , Hirabai Barodekar , Gangubai Hangal Amir Khan (Highly Influenced from Kirana Gharana) Foremost intention of this gharana
234-422: The gharana adhere to a dhrupad aesthetic in their approach to playing the alap and jor portions in a raga . Variations in tempo are used to demarcate sections while playing the jor , with a short rhythmic figure indicating closure of a section. Therefore, rhythmic figures within the jor assume structural importance. Alap-jor is followed by a khayal style vilambit gat with taan improvisations, and
252-493: The performance ends with a jhala . This article about the music of India is a stub . You can help Misplaced Pages by expanding it . Gharana In Hindustani music (North Indian classical music), a gharānā is a system of social organisation in the Indian subcontinent , linking musicians or dancers by lineage or apprenticeship, and more importantly by adherence to a particular musical style. The word gharana comes from
270-495: The performance, or as parts of the alap; in the same way, jhala can be seen as a part of jor. Several musicologists have proposed much more complicated classifications and descriptions of alap. In the same way as traditional four-part compositions have a sthai , antara , sanchar and abhog , some treat alap with a four-part scheme using the same names. Bengali researcher Bimalakanto Raychoudhuri in his Bharatiya Sangeetkosh suggests classification both by length ( aochar being
288-545: The shortest, followed by bandhan , kayed and vistar ) and by performance style (according to the four ancient vanis or singing styles – Gohar , Nauhar , Dagar and Khandar ), and proceeds to list thirteen stages: Even though Raychoudhuri admits the 13th stage is wholly extinct, as we see we are in jhala already at the fourth stage; the sthai-to-abhog movement is all part of the first stage (vilambit). Stages six and up are for instrumentalists only. Other authorities have forwarded other classifications. For example, when alap
306-421: The techniques and poses from other dance forms, the purity of the movements and gestures may be diluted or modified along with the contemporary trends. Raigarh gharana is famous for its own distinctive composition and thousands of followers. Alap Instead of wholly free improvisation, many musicians perform alap schematically, for example by way of vistar , where the notes of the raga are introduced one at
324-525: Was similar to the Dhrupad Bani system. The gharana system was greatly influenced by the gradual fall of the Mughal Empire , which forced musicians to move from Delhi to princely states such as Gwalior, Lucknow, Hyderabad, Patiala and Rampur. The gharanas have distinct styles of presenting the khyal — how much to emphasize and how to enunciate the words of the composition, when to sing
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