Masīd Khān, the grandson of Karīm Sen and great-grandson of Bilās Khān, was the son of Miyān Tānsen and a pivotal figure in the evolution of the Sitār. He introduced significant innovations both in terms of instrument design, adding two strings, and in technical aspects, contributing a distinctive compositional style that bears his name in the realm of instrumental music. Prior to Masīd Khān, the predominant style, widely used in instrumental music, was established by Amīr Khusro. Bahādur Khān, also known as Bahādur Sen, Masīd Khān's son, initiated the Jaipur Gharānā. This style is characterized by compositions with a slow tempo, featuring a distinctive Bola sequence. After presenting the composition in its four parts, Vistāras are played, focusing on the Aṁśa Svara, followed by exploration of movements around the Saṁvādī. Subsequently, typical phrasings of the Rāga are showcased, leading to the exposition of Tāna, often concluding on the eleventh beat before returning to the composition. It's worth noting that contemporary renditions may deviate from the original style due to modifications and additions made over successive generations.