Imdadkhani
This term designates an instrumental style primarily associated with the sitar. Imdād Kẖān, after whom the style is named, was born in Etāvā, Uttar Pradesh, India. His father, Sahabdād Husayn Kẖān, was the brother-in-law of the renowned Khayal singer, Haddu Kẖān, providing Imdād Kẖān with the opportunity to live and learn in this musical environment. Here, he acquired expertise in the Khayal style and the sitār technique. Following his father's passing, Imdād Kẖān further developed the sitār and surabahār technique by learning from various other musicians.
Since 1920, his technique has become predominant in musical circles, influencing instrumentalists from different lineages or Gharanās. The distinctive characteristics introduced by Imdād Kẖān continued through his sons, Ināyat Khān and Wahid Khān. Ināyat Khān, one of the leading sitarists for a significant period, passed away in 1938. His sons, Vilāyat Khān and Imarāt Khān, along with grandchildren like Suljāt Khān and Niṣāda Khān, have continued the lineage, establishing themselves as prominent instrumentalists in contemporary India.
Vilāyat Khān, in particular, contributed his unique style to the stage, earning public acclaim, even if occasionally diverging from classical music norms to emphasize trends he created. Across five generations, these sitarists have profoundly shaped the style and instrumental technique in Khayāl.
A comparison between the Imdādḵẖānī style and the preceding Gharana reveals notable distinctions:
- Tānsen's Gharanā primarily used the Surabahār, emphasizing the Ālāpa with Vīṇā techniques featuring limited glissandos or Mīḍ spanning a fourth. In contrast, the Imdādḵẖānī style merged Dhrupada and Khayal styles in surabahār playing, incorporating various Alaṁkāra and extending the glissando or Mīḍ to a leap of a seventh.
- While the traditional style employed three to four fingers of the right hand in Vīṇā and Surabahār, the Imdādḵẖānī style uses only one finger, aligning with the Sitār technique.
- The Imdādḵẖānī style expands the use of Alaṁkāra, offering more space for imaginative development compared to the traditional style, where the use of Alaṁkāra was limited.
- Cikārī and Jhālā, seldom used in Tānsen's Gharanā, become significant factors in the Imdādḵẖānī style.
- Gamaka, Halak, and Tihāī, previously rarely used, gain prominence in the Imdādḵẖānī style, drawing inspiration from rhythmic variations in percussion.
- The Imdādḵẖānī style introduces Tāna previously reserved for singers, making Bola, Praṇa, and Tihāī essential for performance spectacle.
- The twelve phases of the Ālāpa are well-differentiated in the Imdādḵẖānī style, accompanied by a complete renewal of the Masīdkhānī Gat, allowing greater freedom for musicians.
The innovations introduced by the Imdādḵẖānī style have led to a deeper understanding of differences between various lineages, extending the exploration to visual arts, literature, and architecture.
Artists associated with the Imdādḵẖānī Gharanā include:
Imdad Khan
INDIAN CLASSICAL MUSIC LESSONS AND ONLINE COURSES
IN MODAL MUSIC, IMPROVISATION AND COMPOSITION
LEARN THE MAIN TECHNIQUES OF INDIAN MUSIC WITH A SIMPLE AND PERSONALIZED METHOD!
My online music lessons are the perfect way to learn to sing, or improve the vocal techniques already acquired, or to start playing your favorite instrument or progress in your musical path through an alternative teaching method to Western teaching.
The goal of my Indian classical music courses is to teach you the basics of this wonderful art form. You will learn about the various Ragas, or modal scales, the Talas or rhythmic cycles, and the vocal and instrumental techniques used for improvisation in Indian classical music.
What makes my approach to teaching indian classical music so distinctive?
My teaching system is obviously unique and different from others and I think that learning music following the traditional Indian approach is the most effective method regardless of genre: pop, jazz, world fusion, electronic, whatever musical style you if you are interested, I guarantee that thanks to the Indian perspective, you will have an edge over all the other musicians.
What will you learn?
During my lessons I use a variety of techniques and exercises to learn to improvise and compose. What you will learn in my Indian classical music courses will be based on the concepts of modal scale and rhythmic cycle, i.e. Raga and Tala. You will also learn vocal and instrumental techniques which, although based on Indian musical theory, also find application in the Western musical system.
Will the course suit you?
My courses are aimed to all musicians of all levels, beginners, intermediate and advanced, offering different study materials and techniques from the usual Western standards. All those who want to learn to play Indian classical music are welcome and no previous knowledge or experience is necessary to get started.
I can not wait to get to know you!
Contact me now! The first lesson is FREE!
%2018th-19th%20centuries%20b.jpg)
