Jaipur-Atrauli Gharana Gayaki (Style & Trends)

Most gharanas apply notes in
simple succession in aalap and
taan, whereas in the Jaipur
gayaki, notes are applied in an
oblique manner with filigree
involving immediately neighboring
notes. Instead of the flat taan,
gamak (taan sung with double
notes with a delicate force
behind each of the component
double-notes of the taan)
makes the taan spiral into
seemingly never-ending cycles.
Meend in aalap and gamak in
taan are the hallmark of this
gayaki. To his immense credit,
the great exponent of Kirana
gharana, Pandit Bhimsen Joshi is
one of the very few singers
outside the Jaipur gharana, who
has adopted the gamak taan to
an extent, complete with long,
uninterrupted patterns clearly
showing an amazing breath
capacity much like the old
masters of Jaipur gharana, but
he has not quite achieved the
intricacy and grace of gamak
that is the signature of Jaipur.
Sharp edged harkats and
murkis (crisp, quick phrases to
ornament the alaap) are
relatively uncommon. Not only
are the notes sung in rhythm
with the taal but progress
between the matras (beats) is
in fractions of quarters and
one-eighths. While being mindful
of so many factors, musicians of
this gharana still have a
graceful way of arriving at the
sam without having matras to
spare! This is particularly
evident in the way bol-alaap or
bol-taan is sung, where
meticulous attention is given to
the short and long vowels in
the words of the bandish that
are being pronounced, and the
strict discipline of avoiding
unnatural breaks in the words
and in the meaning of the lyrics.
No other gharana has paid so
much attention to the esthetics
and laykaari in singing bol-
alaaps and bol-taans.