Misplaced Pages

#334665

45-630: The Patiala gharana is one of the vocal gharanas (tradition, school, or style of music) of Hindustani classical music , named after the city of Patiala in Punjab , India where it was established. The gharana was founded in the mid to late 19th century by Mian Kallu (also known as Kalu-miya Khan), a sārangi player of the Jaipur durbar. He received his musical training from the last Mughal king Bahadur Shah Zafar 's court musician Qutub Bakhsh 'Tanras' Khan ( Delhi gharana ) and went on to become

90-482: A generations-old tradition of performing marsiya , noha , and soz-o-salaam recitations during Muharram to commemorate the martyrdom of Husayn ibn Ali and elegize the events of the Battle of Karbala . "Mujrai Khalq Mein" and "Yeh Sochta Hoon" are among the most well known of these lamentations. Gharana In Hindustani music (North Indian classical music), a gharānā is a system of social organisation in

135-516: A noted vocalist in the Patiala tradition today, has explained that Patiala gayaki (singing) is particularly difficult to master and requires dedicated, years-long practice and preparation. He notes that essential requirements of the Patiala manner of singing are correct enunciation ( bani ), correct voice throw ( aakar ), correct articulation of scales ( sargam ) and above all, excellent tayyari (practice). Pandit Iman Das concurs and has stated that

180-428: A result, many vocal instructors have redefined or even abandoned the use of the term head voice. In particular, the use of the term head register has become controversial since vocal registration is more commonly seen today as a product of laryngeal function. For this reason, many vocal instructors argue that it is meaningless to speak of registers being produced in the head. The vibratory sensations that are felt in

225-423: A tenor high C (C 5 ) in full, balanced voice, this is referred to as "head voice". (Pavarotti's range was C♯3 to F5, but beyond D5 (E♭5 to F5) he sang in a strong or reinforced falsetto.) Beginning singers who have difficulty controlling their vocal break need to be taught to eliminate or control the physiological conditions associated with falsetto or strain in a process called "head voice." A strong falsetto

270-565: 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

315-526: Is particularly noted for its ghazal , thumri , and khayal singing styles. Of the numerous vocal gharanas in Hindustani classical music, the Patiala gharana is estimated to have the broadest and most prominent representation on both sides of the India-Pakistan border. In the latter half of the 20th century, the Patiala style of khayal singing took on two distinct forms. The first form

360-421: 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

405-401: Is that since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the head. The vibratory sensations which are felt in the head are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal instructors prefer the term "head voice" over the term register and divide the human voice into four registers:

450-480: Is widely considered its most prominent scion. The gharana is now generally referred to as the Kasur-Patiala gharana . The Patiala gharana is known to be an amalgamated vocal style of singing and is influenced to some extent by the folk music of Punjab . The Patiala singing tradition is known for its creative improvisations by borrowing freely from other gharanas and merging them aesthetically to enhance

495-649: 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 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

SECTION 10

#1732779551335

540-462: The bandish. There is an element of unpredictability." Singers in the gharana are known for their emotionally evocative and sensual singing style, and particular emphasis is placed on clear diction and enunciation. Patiala exponent Raza Ali Khan states: "the voice culture in this gharana has a beautiful, emotive aspect, and you will see that in all the vocalists who sing this gayaki . You can hear elation, sorrow and mischief, among others, all in

585-609: The durat (fast tempo) while the other would take on alap (improvised sections of ragas)." Exponents of the Patiala gharana are known for their willingness to experiment and blend traditional musical forms with newer genres and styles of music. In an interview, Shafqat Amanat Ali noted: "We are as much rooted to our gharana as we are adapting to modern music. As musicians, we have been embracing modern music. Nobody in my family objected to my singing pop or any other genre. In fact, musicians from Patiala gharana have time and again experimented fearlessly. My father sang ghazals when it

630-419: The head register feels to the singer as if the tone is resonating in their head (rather than primarily in the chest or throat). According to an early 20th-century book written by David Clippinger, all voices have a head register, whether bass or soprano . Clippinger claims that males and females switch registers at the same absolute pitches. He also states that at about E ♭ or E above middle C,

675-680: The khayal form of singing. The original thumri compositions of Ali Baksh Khan and Fateh Ali Khan were known for their swift taans set in the traditional tappe folk style of Punjab . The influence of these Punjabi tappe as well as the Sindhi Kafi style of singing is said to have substantially altered the Patiala approach to khayal singing. The Patiala technique of music is noted for its delicate style, use of intricate vocal embellishments (such as gamak , meend , and murki ) and for its numerous bandishes – structure-bound "summaries" of ragas . Pandit Iman Das, an exponent of

720-410: The vocal fry register , the modal register , the falsetto register , and the whistle register . This view is more consistent with modern understandings of human physiology and in keeping with stroboscope videos of laryngeal function during vocal phonation . Tarneaud says, "during singing, the vibration of the vocal folds impresses periodic shakes on the laryngeal cartilage which transmits them to

765-501: The "tenore lirico," the higher part of the singing voice above the secondo passaggio at G 4 extending upwards is referred to as "full voice in head," or voce piena in testa , effectively stating the head register begins at G 4 in the "tenore lirico," not at E 4 . According to Singing For Dummies, the bass changes from chest voice into middle voice around A 3 or A ♭ 3 below Middle C and changes into his head voice around D 4 or C ♯ 4 above Middle C. In

810-908: 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

855-505: The Patiala gharana from Bangalore, India explains that the distinguishing features of the Patiala style of singing are "long meends , heavy gamaks , electrifying taans, shuddha aakar, bol-banavat , and some elements of Punjabi folk interspersed with surprise elements like murkis and harkats ." A special feature of the Patiala gharana approach to singing is its rendering of intricate taans . These are very rhythmic, vakra (complicated) and firat taans , and are not bound by

900-527: 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:

945-409: The Patiala technique of singing is "an extremely complex style to learn" and requires "rigorous riyaz for years." Vocalists in the Patiala gharana typically perform in pairs. Ustad Hamid Ali Khan explains: "Our ancestors devised this method of singing in pairs, so that the next generation always sticks together. So, while both partners have a full range, in public performances one would take care of

SECTION 20

#1732779551335

990-530: 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

1035-410: The bones in the thorax via the laryngeal depressors, and to the bony structures in the head via the laryngeal elevators. Singers feel these shakes in the form of thoracic and facial vibrations". These internal phonatory sensations produced by laryngeal vibrations are called "resonance" by singers and teachers of singing. There are seven parts of the human body that act as resonators, and of those seven,

1080-577: The court musician to the Maharaja of Patiala . Eventually, the mantle was passed on to his son, 'General' Ali Baksh Khan and his close friend 'Colonel' Fateh Ali Khan, both of whom became court musicians in the court of Maharaja Rajinder Singh . The titles of 'general' and 'colonel' of music were bestowed upon them by the Victor Alexander Bruce , the 9th Earl of Elgin, after the duo had enthralled him with their performance. Their pairing

1125-409: 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

1170-412: The head are resonance phenomena and should be described in terms related to vocal resonance , not to registers. These vocal instructors prefer the term "head voice" over the term "head register." These vocal instructors also hold that many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the controversy over this terminology. Also,

1215-401: The head register (which is above the chest register), some of the bottom end leaves the voice, but it's still, according to Martin, a voice capable of much power. Explanations for the physiological mechanisms behind the head voice can alter from voice teacher to voice teacher. This is because, according to Clippinger, "In discussing the head voice it is the purpose to avoid as much as possible

1260-514: The mechanical construction of the instrument" . However, not all vocal teachers agree with this view. Thomas Appell's 1993 book Can You Sing a HIGH C Without Straining? aimed to refute the theory that all singers switch registers at the same absolute pitch. Appell defined chest voice as resonance below the vocal folds and head voice as resonance above the vocal folds. He recorded examples of male and female singers changing from chest voice to head voice at different pitches in an attempt to prove that

1305-534: The middle register at the same pitches. The contemporary vocal pedagogy instructor Bill Martin seconds the view that the change from chest voice to head voice occurs at around E 4 in all voices, including the bass, but Martin states that in the coloratura soprano, it is more likely to occur at F 4 . A recent book by a former teacher at Oberlin College Conservatory of Music and a vocal pedagogy teacher , Richard Miller , states that in

1350-428: The most common taals favoured by vocalists in the gharana . Pandit Shantanu Bhattacharayya, a well-known Patiala vocalist, notes about the Patiala singing style that " akaars, bol banaavs and bolbants exhibit the temperament of a painter. Each phrase is rendered like colouring a picture – vivid with imagery. There are certain features of this gharana that surface suddenly. Taans and boltaans can intersperse

1395-615: The rhythmic cycle. Taans with clear aakar are presented not through the throat but through the navel. Specifically, singers in the gharana tend to sing from the chest or diaphragm and not with their head voice . Vocalists in the Patiala tradition sing in a strong, open-throated voice with intricate and analytical use of notes in three octaves. The Patiala singing form tends to favour pentatonic ragas such as Malkauns for their ornamentation. Other ragas popular with singers of this gharana are Darbari Kanhra, Ramkali, Shuddha Kalyan, and Bageshree. Ektaal and teentaal are

Patiala gharana - Misplaced Pages Continue

1440-538: 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. Head voice The term goes back at least as far as the Roman tradition of rhetorical instruction. Quintilian (ca. AD 95) recommends teaching students ut quotiens exclamandum erit lateris conatus sit ille, non capitis ("that when

1485-416: The tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. At the same absolute pitches, the alto or soprano passes from the chest to the middle register. According to Clippinger, there is every reason to believe that the change in the mechanism for male voices into head register is the same as that which occurs in the female voice as it goes into

1530-568: The term head register is not used within speech pathology and is not one of the four main vocal registers identified by speech pathologists. The following is an overview of the two predominant views on head voice within vocal pedagogy. One prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers. Men's voices are divided into " chest register ", "head register", and " falsetto register " and women's voices into " chest register ", " middle register ", and "head register". According to this practice, singing in

1575-401: The three most effective resonators that help amplify and create the most pleasing sounds are all located in the head: the pharynx , the oral cavity , and the nasal cavity . Resonances and registration aside, the term "head voice" is commonly used to mean "high notes that are not falsetto or strained". For example, when Pavarotti , Stevie Wonder or Bill Withers slide from chest voice to

1620-405: The transition pitch is a function of the intensity of the vocal tone and is not absolute. At higher vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be higher. At lower vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be lower. This view

1665-444: The voice has to be raised the effort comes from the lungs and not from the head," Inst. 1.11.8, transl. Russell). The first recorded mention of the term in a musical context was around the 13th century, when it was distinguished from the throat and the chest voice (pectoris, guttoris, capitis—at this time it is likely head voice referred to the falsetto register ) by the writers Johannes de Garlandia and Jerome of Moravia . The term

1710-523: The voice." The gharana also has lyrical compositions that have been passed down from generation to generation, and even to disciples and students from outside the family. Singers in the Patiala tradition especially excel in Malkauns, Darbari, Adana, Des, Bhopali , and Multani ragas , according to noted gharana exponent Ustad Hamid Ali Khan . Patiala vocalists are also known for their highly complex expositions of ragas . Pandit Ajoy Chakrabarty ,

1755-666: The words of the composition, when to sing 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

1800-508: Was composed by Mian Kallu himself. In fact, the bandish of this raga alludes to the gharana's devotion to the Sufi master Moinuddin Chishti , also known as Khwājā Ghareeb Nawaz. Later and modern-day Patiala exponents have continued to incorporate elements of Sufi music into their classical and pop compositions. The Patiala family (descendants of Ali Baksh Khan and Akhtar Hussain ) has

1845-476: Was later adopted within bel canto , the Italian opera singing method, where it was identified as the highest of three vocal registers: the chest , passaggio and head registers. This approach is still taught by some vocal instructors today. However, as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As

Patiala gharana - Misplaced Pages Continue

1890-466: Was not the taste of classical artistes. He was, in fact, criticised for that. Many classical vocalists were shocked and surprised when we sang Khayal , which again was a bold step for Dhrupad vocalists." The early Patiala vocalists were known to be associated with Chishti Sufis . This is reflected in the fact that lyrics of many of the gharana 's compositions have recurring Sufi leitmotifs – most clearly evident in their signature raga, Ram Saakh which

1935-417: Was originated by siblings Ustad Amanat Ali Khan (1922 – 1974) and Ustad Bade Fateh Ali Khan (1935 – 2017). The other, originating from Kasur , Pakistan , was produced by siblings Ustad Bade Ghulam Ali Khan (1902 – 1968) and Ustad Barkat Ali Khan (1907 – 1963). Ustad Bade Ghulam Ali Khan is generally acknowledged to be the most influential exponent of the Patiala gharana, while Ustad Amanat Ali Khan

1980-429: Was popularly referred to as 'Ali-a-Fattu ki Jodi.' Although the Patiala gharana was originally founded by Mian Kallu, it is widely acknowledged that it was Ali Baksh Khan and Fateh Ali Khan who popularised the Patiala singing tradition by bringing its acclaim and attention across the subcontinent. The Patiala gharana was inspired and influenced by four musical gharanas – Delhi , Gwalior , Riva, and Jaipur , and it

2025-531: Was rooted in the guru–shishya tradition and 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

#334665