Every day, new ragas, new talas, and new techniques come into existence. Eminent scholars, thinkers, and talented artists continually challenge the traditional system and leave their mark by setting new trends in the music scene. This continuous process involves musicians applying their insight, knowledge, and abilities to traditional concepts, keeping in mind various factors like the present scenario, traditional values, the audience, and society to produce new techniques. The same is true for the Traditional Khayal Singing Style.
Historical Roots and Evolution
Khayal singing style traces its origins back to the 13th century. It emerged due to the efforts of Sultan Hussain Sharque and others that followed him. In the 18th century, under the reign of Sultan Mohd. Shah Rangeele, Khayal came into the limelight. It attained its novel form and design owing to the efforts of great musicians like Niyamat Khan (Sadarang) and Firoze Khan (Adarang). Various great artists and musicians have contributed to the development of Khayal over time.
Pioneers of Innovation in Khayal
Ustad Amir Khan
Ustad Amir Khan was not only a successful vocalist but also a thinker and innovator in the field of music, setting new trends. He provided a Khayal style in a unique format that proved to be very effective and popular. He is often referred to as a key figure in contemporary Khayal singing, a pathbreaker who challenged traditional singing styles. He introduced Ati Vilambit Laya (Very Slow Tempo) in Khayal and blended the spiritual flavor and grandeur of Dhruvapad with the ornate vividness of Khayal. His emphasis on Ati Vilambit Laya, melody, Kan swar, and clear enunciation of the text of the Bandish set new trends in Traditional Khayal.
Ustad Aman Ali (Bhindi Bazaar Gharana)
Ustad Aman Ali was responsible for adding elements of intonation from Carnatic classical music to the existing format of Hindustani vocals. In the 1940s, note-name singing or sargam singing (Solfa Singing) was not part of Hindustani music. Ustad Aman Ali introduced this concept to Hindustani Classical music. He improvised the Merukhand Principle (using various combinations of a given set of notes) in Alap, Tan, and Sargam. He also introduced some melodious ragas of Carnatic music, such as Hansadhwani, Nagaswarali, and Pratapwali, to Hindustani Classical music.
Ustad Bade Ghulam Ali Khan
Ustad Bade Ghulam Ali Khan had a unique voice, a wide range spanning three octaves, effortless production, all-around sweetness, unparalleled flexibility, and ease of movement in all tempi. His style possessed exceptional lucidity and clarity in addition to serenity and calmness. His brief raga expositions, contrary to convention, aimed to cater to the masses while still appreciating the beauty of classical music. He popularized the use of the Kanoon (Swarmandal) instrument in Khayal, influencing other artists like Pt. Jasraj and Ustad Rashid Khan.
Pandit Jasraj
The living legend of Hindustani Classical music, Pandit Jasraj, is known for his rich, soulful, and sonorous voice. His singing is characterized by a harmonious blend of classic and opulent elements, projecting traditional music with an intense spiritual expression. He created a novel form of Jugalbandi, styled on the ancient system of Moorchhana, between a male and a female vocalist who each sing different ragas simultaneously. This Legendary Jugalbandi is known as the Jasrangi. His contributions to Hindustani music are immense, making it more popular among the masses through his recordings and performances.
Ustad Rashid Khan
Ustad Rashid Khan is known for the emotional overtones in his melodic elaborations. He emphasizes the emotional content in Aalap, Bandish, and the lyrics, bringing a touch of modernity to his style. His spontaneous emotional appeal has won him enthusiastic listeners and followers worldwide. He has experimented with fusing pure Hindustani Classical music with lighter musical genres, performed experimental concerts with Western instrumentalists, and contributed to Bollywood film songs, popularizing Hindustani Classical music among the youth and common people.
Contemporary Innovations and Fusion
In recent times, various artists have experimented with the fusion of Khayal, such as Rashid Khan, Ajay Pohankar, Shubha Mudgal, Sultan Khan (Late), Shafqat Amanat Ali (Pakistan), and Rekha Bhardwaj. They have fused Hindustani Khayal with other forms and instruments, making it more appealing to the general masses. This has led to Khayal singing reaching private albums, iTunes, YouTube, and Bollywood films. Young artists like The Khayal Groove (band) and MaatiBani are working on fusions of Khayal with synthesizers, electric guitars, bass guitars, drums, and other instruments.
Balancing Tradition and Modernization
While modernizing and fusing Khayal with other genres and instruments, it is crucial to preserve the internal beauty and spiritual nature of Khayal. Light effects, sound effects, and multimedia effects can be used, but only to the extent that they do not interfere with the core properties of Khayal or hinder its spiritual form.
Conclusion
The Khayal singing style, its performance, and presentation have been continually refined by eminent artists and learned musicians, making it the main style of Hindustani classical music today. It is time to embrace change and think towards making our music more popular among the masses while preserving its traditional essence. Let us come together and work towards the growth and development of our very own Hindustani classical music.
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