PERSPECTIVESIndian Journal of Arts • PERSPECTIVES Indian Journal of Arts, Volume 3, Number 7, July 2013

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ISSN Patterns and Signature of Gwalior Gharana in Indian Classical Music

Deepak Kumar Mittal1☼, Santosh Purandare2, Neera Sharma3

1. Research Scholar, Dept. of Performing Arts, Raja Man Singh Tomar Music and Arts University, Gwalior, (M.P.), India 2. Assistant Professor, Dept. of Music, Madhav College, Gwalior, India 3. Professor, Dept. of Performing Arts,Vanasthali Vidyapeeth, Rajasthan, India

☼Correspondence to: Research Scholar, Raja Mansingh Tomar Music and Arts University, Gwalior, (M.P.), India, Email: [email protected] Mobile: (+91)9425771967

Received 11 May; accepted 19 June; published online 01 July; printed 16 July 2013 ABSTRACT In Medieval period of India, there was discipline of music called gharanas. The world gharana exactly means a family. So these families or guilds specialized in scrupulous styles or traditions of music. Gwalior gharana is regarded as the mother of all gharanas as it is the oldest, and one of the most enduring. Tansen, the famous musician, was the founder of this gharana and Raja Man Singh was one of the greatest patrons of Arts and Music. The aim of this study, Gwalior gharana is performed major patterns and signature of Indian classical music.

Keywords: Gwalior, Khyal, Dhrupad, Tansen, Raja Mansingh Tomar.

1. INTRODUCTION Indian classical music is one of the oldest forms of music in the world. It has its roots in diverse areas such as the ancient religious Vedic hymns, tribal chants, devotional temple music, and folk music. The origins of Indian classical music can be found in the Vedas, which are the oldest scriptures in the Hindu tradition. Indian classical music has also been significantly influenced by, or syncretized with, Indian folk music, and Hindustani music has also been influenced by Persian music (Deva, 1981). Indian classical music is both elaborate and expressive. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are, in ascending tonal order, Sa Re Ga Ma Pa Dha Ni Sa for Hindustani music and Sa Ri Ga Ma Pa Da Ni Sa for Carnatic music, similar to Western music's Do Re Mi Fa Sol La Ti Do (omenad.net). Indian music is traditionally taught via oral methods and, until the 20th century, did not employ notations as the primary media of instruction, understanding, or transmission. The rules of Indian music and compositions themselves are taught from a guru to a shishya, in person (Joshi and Gandhar). 2. GWALIOR GHARANA (“Gwalior mein baccha bhi sur mein rota hai”) 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. During the time of Mughal 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 (Neeta, 2011). Raja Man Singh was patron of Dhrupad gharana. The word Dhrupad is the Hindi form of the original Sanskrit, Dhruvapada, a combination of Dhruva = structured or rigid and Pada = word. He was pivotal in replacing Sanskrit with Hindi in music (Sanyal and Widdess). 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 (Dhaneswar, 2012; Lalita, 2012). 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 (Grimmes, 2008).

3. IMPORTANT FEATURES OF THE GWALIOR GHARANA This is a pioneer Gharana in Hindustani Classical Khayal Singing. It is supposed to have evolved through Dhrupad Singing

and also through the music of Sufi-Saints and “Quwaal-Baches” (Qawaal-Singers). Some believe that this gharana was created by Natthan Pir Baksh who was patronized by Gwalior-Naresh Jayaji Rao, the king of Gwalior State. This Gharana 1 lays great importance on clear indication of the character of Raga in a very first “Alaapa” i.e slow development of prominent notes. Khayal Singing is completely based on notes, rhythm and compositions. Hence, Gwalior Gharana Gayaki puts priority

on compositions (Bandishis). One finds a great verity of compositions in any given Raga, which can be sung by various types Page Deepak Kumar Mittal et al. Patterns and Signature of Gwalior Gharana in Indian Classical Music, Indian Journal of Arts, 2013, 3(7), 1-3, www.discovery.org.in http://www.discovery.org.in/ija.htm © 2013 Discovery Publication. All Rights Reserved

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of voices. The Raga made interesting by different developing styles suited to particular composition. The “Sama” and “Kala” of a composition is co-ordinate with some particular letters. A composition is presented in a well-defined style. “Sthayee” is sung twice, “Antara” only once, and then the “Raga-Vistara” (presenting different characteristics and aspects of the Raga) is presented. Gwalior Gharana Gayaki is replete the profound serenity of the “Dhrupad Dhamara” Gayaki. Singing in multiple rhythms is a salient feature of Dhrupad, viz double, triple, quadruple as well as contra-rhythm. Another noteworthy feature is repeating the refrain, thrice and then pouncing upon the ‘Sama’ very dramatically. All these features are present as in this Gharana, as also is its natural, easy and full-throated way of singing. As in Dhrupad, slow-moving compositions (Vilambit Bandish) sometimes contain a number of Sthayess and Antaras, with different moods and feelings, which are very dignified and satisfying aesthetically. In this Gharana, Khayal is mostly sung in medium pace (Madhyalaya). Tilwada and Zumra are

the most popular talas. There was a time which Ektala also us. The weighatage and the structures of sections of Tala are in the main focus in this Gayaki. Thus the grace of the tala becomes manifest. Gwalior Gayaki gives preference to the contemporary and pure Ragas. It emphasizes the strong points and the resting points of Raga. The Tanas are sung in ascending and descending (Aarohi and Awarohi) orders. They are strait, plane and have great reach. Swings and oscillations of voice are also used (Behelava). It is not that this Gayaki high-lights only one certain aspect. It balances all different aspects

of singing. It is an eight-dimensional (Ashtanga Pradhan Gayaki) Style. It employs Gamaka, Andolana, Kampa, Meend, Murki, Patak, Khatak, Jamjama etc. as and when an occasion demands. This Gayaki is without any guile or gimmicks. It is simple and straightforward and yet it is very scintillating. There is no subtle artistry, yet there being a beautiful fusion of Swara and Tala, the listener derives complete pleasure and satisfaction. This Gayaki lays emphasis on Virtuosity (Taiyari). That is why compositions like Tarana, Triwat, Chatrang, Tappa can be heard in this Gayaki.

4. ORNAMENTATIONS AND COMPOSITIONS OF GWALIOR GHARANA A distinguishing feature of the gharana is its simplicity, and one means to this is the selection of well-known ragas 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 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. 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). Various Signature of Gwalior Gharana Indian Classical Music:

 Open-throated and bold voice production  Preference for Tilvada Tala for and Addha / Punjabi Theka in Teentala for Chhota Khayal.  A tight and well-knit Bandish in, also in Tala such as Jhoomra, Ada-Choutala or Ektala.  Introductory Alap before the Bandish.  Use of Behlava as part of Vistar.

 Importance of vowels in Badhat. Extensive use of Aakar. Vowels often coalesed with words. Sharp vowels like EE and OO employed in the higher notes.  Employment of Gamak throughout, lending Vazan to the notes used.  Elongation of the Anunasik Svara (nasals), especially for staying on the higher notes.  A penchant for long Bandish often containing Adi Laya syncopation.

 Use of syncopation during Vistar, especially in medium tempo phrases.  Systematic phrasewise development of the Raga.  Preference for "Shuddha Raga" as against "Sankirna Raga" and "Chhayalag Raga".  Straight and simple Raga development.  Use of Larajdar or weighty Tana, mostly Alankarik, in Vilambit Laya before fast Tana.  Abundance of Boltana.  Protracted Bolbant amd Layakari before the commencement of the initial Larajdar Tana.  Employment of cross-rhythm against the Tabla Theka.

 Preference for Tarana instead of Thumri.  A bent towards display of virtuosity, e.g., Tayyari of Gamaka and Behlava tana, etc.  The Gwalior gayaki is said to be "Ashtanga Pradhana",  Bol-Alap, Bol-Tana, Tana varieties,  Layakari, Meend, Gamaka and Murki

Common ragas include Alhaiya Bilawal, Yaman, Bhairav, Sarang, Bhoopali, Asavari, Kamod, Bairagi, Bibhas, Puria Dhanashri, Poorvi, Jog, Kalavati, Shree, Hameer, Gaud Malhar, and Miya Ki Malhar.

5. CONCLUSION The fundamental concept of the Gwalior Gharana patterns and signature has emerged as one of the most prominent and enduring pillar of the Hindustani Classical Music. The simplicity and exclusive magnificence of the Gharana has brewed it into a much coveted school of music. The “Khyal Gayaki and Dhruppad” is the biggest asset of this Gharana and leads to breaking of barriers between the vocal and instrumental music. The main attribute to the success and widespread patterna

and signature of the Gharana goes to its founder “Gurus and Shishya”, who brought about revolutions in the field of Indian Classical Music. This manuscript ascribes a detailed description of the basic patterns inherent to this Gharana. 2

Page Deepak Kumar Mittal et al. Patterns and Signature of Gwalior Gharana in Indian Classical Music, Indian Journal of Arts, 2013, 3(7), 1-3, www.discovery.org.in http://www.discovery.org.in/ija.htm © 2013 Discovery Publication. All Rights Reserved

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ACKNOWLEDGEMENT The authors feel indebted to Prof. Swatantra Sharma and Dr. P.L. Gohadkar, Gwalior for their invaluable suggestions. The financial assistance from Raja Mansingh Tomar University, Gwalior and UGC, New Delhi-India, is acknowledged. REFERENCES 1. Indian Classical Music. omenad.net 2. Bhabhe Neeta – Sangeetacharya, 2011 3. Deva BC. The Music of India: A Scientific Study, Munshiram Manoharlal Publishers Pvt. Ltd., New Delhi, 1981 4. Dhaneshwar, Amarendra. "Sufi, so good". Hindustan Times. Retrieved 8 December 2012 5. Girisa Chaturvedi, Sarala Jag Mohan, Tansen, page 20 6. Jeffrey Michael Grimes. The Geography of Hindustani Music: The Influence of Region and Regionalism on the North Indian Classical Tradition. ProQuest. 2008, p. 128. ISBN 978-1-109-00342-0. Retrieved 8 December 2012 7. Komal Gandhar. Ustad Vilayat Khan 8. Perron, Lalita Du. Hindi Poetry in a Musical Genre: Ṭhumrī Lyrics. Taylor & Francis. p. 31. ISBN 978-0-415-39446-8. Retrieved 8 December 2012 9. Ritwik Sanyal, Richard Widdess, Dhrupad: tradition and performance in Indian music, page 48 10. Umesh Joshi. Bharatiya Sangeet ka Itihas

3 Page Deepak Kumar Mittal et al. Patterns and Signature of Gwalior Gharana in Indian Classical Music, Indian Journal of Arts, 2013, 3(7), 1-3, www.discovery.org.in http://www.discovery.org.in/ija.htm © 2013 Discovery Publication. All Rights Reserved