Delhi Gharana (Khayal)

दिल्ली घराना (ख़याल)

Delhi khayal of many taans, sung in a supple, restrained voice

Vocal Gharana Delhi Earlier

Founded By

Miyan Achpal

The Delhi gharana, also called the Dilli gharana, is a hereditary school of Hindustani khayal singing based in Delhi, documented from the 19th century. It traces a traditional ancestry to Amir Khusrau, and its earliest documented figure is Miyan Achpal, a Delhi court singer.

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Origins & History

Gharana tradition traces the line to Amir Khusrau (1253-1325) and his qawwal disciples, the qawwal bachche, taught by his chief disciple Mian Samat. Irfan Zuberi calls Khusrau's shaping of khayal a historical conjecture, and Katherine Butler Schofield, as reported in the press, finds khayal among the songs of Delhi's qawwals from about 1637. Another story names two brothers, Hasan Sawant and Bula Kalawant, whose lines became the qawwal and the court-singer branches.

The documented core is Miyan Achpal and his disciple Tanras Khan, who sang at the court of Bahadur Shah Zafar and took his title from the emperor. After 1857 Tanras Khan left Delhi for Hyderabad, where he died in 1885 or 1890. Zuberi names Achpal's brother Ghulam Hussain as the other figure who kept the gharana alive.

The present family's tie to Achpal is told two ways. Its own account and The Wire call the family his descendants, while Zuberi, Joep Bor and Outlook record a tie by marriage through Abdul Gani Khan. Wajiha Ather Naqvi, in Dawn, calls the succession disputed and says many members moved to Karachi at Partition.

"is also credited with the invention of the sursagar, a large sarangi with an additional number of steel strings, which are used as chikari"

— Joep Bor, on Mamman Khan

Famous Sarangi Players: What Musicians Remember, The Voice of the Sarangi, NCPA Quarterly Journal (1986-87), p. 129

歴史年表

After 1857

Tanras Khan leaves Delhi

Tanras Khan leaves Delhi for Hyderabad. Abdul Gani Khan, the sarangi player known as Sangi Khan, settles in the city.
1937

Chand Khan joins All India Radio

Chand Khan becomes music supervisor of All India Radio, Delhi, after years as a singer at the Patiala court.
1940

Mamman Khan dies

Death of the sarangi player Mamman Khan, credited with the sursagar and with bringing khayal-style playing to the sarangi.
1962

Krishna Bisht's first concert

Krishna Bisht, pupil of Chand Khan, gives her first public concert; she later teaches at Delhi University for 43 years.
1981

Iqbal Ahmed Khan becomes khalifa

Iqbal Ahmed Khan is installed as khalifa of the Dilli gharana on 1 February 1981 and holds the role for the rest of his life.
2014

Akademi award and recording

The Sangeet Natak Akademi gives Iqbal Ahmed Khan its award for 2014 and records him singing rare Delhi bandishes at its Delhi studio.
2020

Iqbal Ahmed Khan dies

Death of Iqbal Ahmed Khan, khalifa of the Dilli gharana since 1981 and grandson of Chand Khan.

Lineage & Legacy

The guru-shishya tradition passed down through generations

The modern family descends from Abdul Gani Khan, known as Sangi Khan, a sarangi player who settled in Delhi after 1857. His son Mamman Khan was a sarangi player, and Mamman Khan's son Chand Khan returned the family to khayal. Chand Khan's grandson Iqbal Ahmed Khan learned from him and from Hilal Ahmed Khan and Naseer Ahmed Khan, and became khalifa, the gharana's head, in 1981.

Traditional ancestry

Amir Khusrau

1253-1325

Traditional ancestor

Poet and musician to whom the gharana traces its descent. Irfan Zuberi calls the idea that Khusrau modelled khayal a historical conjecture.
Guru-Shishya Tradition

19th century

Miyan Achpal

19th century

Earliest documented figure

Delhi court singer, also known as Miyan Ajmal Khan. Zuberi places him under Bahadur Shah Zafar; Joep Bor calls him the emperor's teacher.

Tanras Khan

Died 1885 or 1890

Court singer

Disciple of Miyan Achpal and singer at Bahadur Shah Zafar's court, which gave him his title. He left Delhi after 1857 and died in Hyderabad.

Abdul Gani Khan (Sangi Khan)

19th century

Sarangi player

Son of a Ballabgarh court singer, he took up the sarangi and settled in Delhi after 1857. Bor and Zuberi tie him to the Achpal line by marriage.
Guru-Shishya Tradition

The sarangi line and the revival

Mamman Khan

Died 1940

Sarangi player

Son of Abdul Gani Khan. Bor calls him perhaps the first to play khayal-style singing on the sarangi, and he is credited with inventing the sursagar.

Chand Khan

1889, 1899 or 1901 to 1980

Singer

Son of Mamman Khan, he revived khayal in the Delhi style. He sang at the Patiala court and in 1937 became music supervisor of All India Radio, Delhi.
Guru-Shishya Tradition

20th century

Naseer Ahmed Khan

Singer

Known as Taan Samrat, he was one of Iqbal Ahmed Khan's teachers. His sons Tanvir and Imran Ahmed carry on the vocal line.

Krishna Bisht

Singer and scholar

Pupil of Chand Khan, described by Outlook as the gharana's first woman khayal singer. The Sangeet Natak Akademi calls her a scholar of the Delhi gharana.

Iqbal Ahmed Khan

Died 2020

Khalifa of the gharana

Grandson and pupil of Chand Khan, installed as khalifa on 1 February 1981. He received the Sangeet Natak Akademi Award for 2014.

Naseeruddin Saami

Singer, Karachi

Irfan Zuberi names him as the Delhi gharana's singer in Pakistan. His family traces its descent through Tanras Khan and Mian Samat.

The gharana system is rooted in the guru-shishya (teacher-disciple) tradition, where musical knowledge and style are passed down through direct apprenticeship over three or more generations.

Key exponents

  • Miyan Achpal, Delhi court singer, 19th century
  • Tanras Khan, singer at Bahadur Shah Zafar's court, died 1885 or 1890
  • Mamman Khan, sarangi player credited with the sursagar, died 1940
  • Chand Khan, singer who revived Delhi khayal, died 1980
  • Naseer Ahmed Khan, singer known as Taan Samrat
  • Krishna Bisht, singer and scholar of the gharana
  • Iqbal Ahmed Khan, khalifa of the gharana from 1981, died 2020

音楽的特徴

Distinctive style, techniques, and aesthetic philosophy

Overall Style

The Delhi gharana puts its taans, fast runs of notes, first: their variety and intricacy are the hallmark it claims. Outlook describes a restrained, supple voice and names two qualities, lachaav, flexibility, and ghulaav, notes that dissolve into one another. Forms inherited from qawwali sit beside khayal.

Taans first

The gharana names the variety and intricacy of its taans as its hallmark. Outlook counts about 50 types, and Naseer Ahmed Khan was called Taan Samrat.

Lachaav and ghulaav

Writers describe a restrained, supple voice: lachaav, flexibility of line, and ghulaav, a melting quality where notes blend into one another.

A qawwali inheritance

Beside khayal and tarana the family keeps qaul, qalbana and naqsh, forms from the qawwal tradition, with folk songs such as savela and sohag.

The sarangi line

Mamman Khan may have been the first to play khayal-style singing on the sarangi. He is credited with the sursagar, a large sarangi with steel strings.

Signature Repertoire

The family repertoire covers khayal, tarana and qaul, the qawwali forms qalbana and naqsh, and folk-based songs such as savela, sohag and sawan geet. Recent generations added thumri, dadra and ghazal. The Wire reports early Delhi khayal compositions by Sadarang and khayal and thumri compositions of Kunwar Shyam in the family's stock.

Compare with Similar Gharanas

Understand how Delhi Gharana (Khayal) differs from other traditions

Select a Gharana to Compare:

Delhi Gharana (Khayal)
(Current)		 Gwalior Gharana
(Comparing)
タイプ Vocal Vocal
原点 Delhi Gwalior
Era Earlier Late 18th century
スタイル The Delhi gharana puts its taans, fast runs of notes, first: their variety and intricacy are the hallmark it claims. Outlook describes a restrained, supple voice and names two qualities, lachaav, flexibility, and ghulaav, notes that dissolve into one another. Forms inherited from qawwali sit beside khayal. A Gwalior performance follows its composition. The singer sets out the bandish, the composed song, in its two parts, sthayi and antara, and builds the raga from that structure with the words kept in order. The alap, the unmetred opening, stays short, and the voice is open and full. The method as a whole goes by the name ashtang gayaki, singing built on eight elements.
View Gwalior Gharana Details

Influence & Legacy

Zuberi writes that Fateh Ali and Ali Bakhsh, founders of the Patiala gharana, were Tanras Khan's disciples. Chand Khan taught widely outside the family, among them Krishna Bisht, the qawwals Shankar and Shambhu, and Iqbal Bano, who later moved to Pakistan. After Partition part of the line settled in Karachi, where Naseeruddin Saami carries the Delhi gharana.

ソース

  1. Joep Bor, Famous Sarangi Players: What Musicians Remember (1986-87)
  2. Irfan Zuberi, Delhi School of Music, Outlook (2007)
  3. In Raag Dehlavi, Outlook (2017)
  4. Wajiha Ather Naqvi, Pakistan claims qawwali as its own. Why not khyal?, Dawn (2019)
  5. S. Kalidas, obituary of Iqbal Ahmed Khan, The Wire (2020)
  6. Sangeet Natak Akademi, award citation for Iqbal Ahmed Khan (2014)

よくあるご質問

What is the Delhi gharana of khayal?

The Delhi gharana, or Dilli gharana, is a hereditary school of khayal singing based in Delhi, documented from the 19th century. It claims the variety of its taans as its hallmark and traces a traditional ancestry to Amir Khusrau and the qawwals of Delhi.

Who founded the Delhi gharana of khayal?

Gharana tradition names Amir Khusrau and his chief disciple Mian Samat as its founders, but the earliest documented figure is Miyan Achpal, a Delhi court singer, with his disciple Tanras Khan. Irfan Zuberi calls Khusrau's role in shaping khayal a historical conjecture.

Which musicians belong to the Delhi gharana of khayal today?

Tanvir and Imran Ahmed, sons of Naseer Ahmed Khan, carry on the Delhi vocal line, and Naseeruddin Saami carries the gharana in Karachi. Its most recent khalifa, Iqbal Ahmed Khan, died in 2020.

How does the Delhi gharana of khayal differ from the Gwalior gharana?

Delhi singers claim the variety and intricacy of their taans as their hallmark and sing in a restrained, supple voice, while Gwalior singing is open and full-throated, built on the bandish, with straight sapat taans. Gwalior is usually called the oldest khayal gharana, a title the Delhi family claims for its own line. Read more on the Gwalior gharana page.

How is the Delhi khayal gharana different from the Delhi tabla gharana?

They are separate traditions that share a city name. The Delhi khayal gharana is a school of singing, while the Delhi tabla gharana was founded in the early 18th century by Siddhar Khan, a pakhawaj player at the court of Muhammad Shah.

How does the Delhi gharana relate to the Qawwal Bachchon ka Gharana?

The Delhi gharana traces its ancestry to the qawwal bachche, the hereditary Delhi qawwals of the Qawwal Bacchon gharana, and keeps qawwali forms in its repertoire. One story makes the two branches of a pair of brothers, Hasan Sawant and Bula Kalawant.

What links the Delhi gharana to the Patiala gharana?

The founders of the Patiala gharana, Fateh Ali and Ali Bakhsh, were disciples of the Delhi singer Tanras Khan, Irfan Zuberi writes. Later, Chand Khan of the Delhi family sang at the Patiala court before joining All India Radio in 1937.

Is the Delhi gharana a sarangi gharana?

No: it is a vocal gharana with a strong sarangi line. Abdul Gani Khan and Mamman Khan were sarangi players, and Joep Bor describes their line as apparently an offshoot of a vocal gharana; an informant of Daniel M. Neuman traced it to Rajasthani folk sarangi players. Chand Khan objected to the label sarangi gharana and revived the family's khayal.

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