“Raga” is the mainstay of Indian Classical Music. Raga pervades it completely. An artist gets full freedom to manifest his or her talent and ideas, provided the rules regarding Tala, Rhythm and the raga-character are religiously obeyed. An artist of great genius creates his own style and mark of presenting a particular Raga. When a truly knowledgeable and appreciative audience accepts this particular style, the teacher-artist trains his pupils in same style. Those pupils in their turn carry forward the same style, thus creating a tradition of that style. Eventually, that style acquires the name of either the original artist or his birth-place or the state which gave him the patronage. Thus, name of the Gharana refers to a particular style of singing. A musical presentation which is backed by a long tradition and is marked by discipline, methodology and neatness is known as “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 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 of voices. The Raga made interesting by different developing styles suited to particular composition. The “Sama” and “Kala” of a composition are 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 Gayki 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 note worthy 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 was is 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.

Ghagge Khuda Baksha of Agra Gharana got his Talim (Training) from Natthan Pir Baksha of Gwalior Gharana, Hence, there is lot of similarity in presentation style of these Gharanas. Agra Gharana is famous for its Nom-Tom Aalapas and its rhythmic patterns (Layakari). As in Dhrupad Singing, here, the initial Raga expansion is done with Nom-Tom Aalapas in full and forceful voice. This gayaki shows great mastery on Talas and many bandishes in fast pace, springing in various manners can be found. Zumra, Ada Choutal and Zaptala are the popular Talas. Lot of time is devoted to the notes of lower octave. Tanas sung with the movements of low (Jabda Tana) and Bol tanas are very forceful and impressive. In this Gayaki, contemporary as well as some outdated ragas are singing.