Introduction

The Patiala Gharana, a branch of the Delhi Gharana, is a prominent vocal tradition of Hindustani classical music. Established in the mid to late 19th century in the city of Patiala, Punjab, this gharana of music gained immense recognition and distinction under the guidance of its legendary maestro, Ustad Bade Ghulam Ali Khan. Founded by the renowned Ali Baksh and Fateh Ali Khan, popularly known as `Aliya-Fattu` or `Karnail and Jarnail,` the Patiala Gharana draws inspiration from various musical gharanas, such as Delhi, Gwalior, Riva, and Jaipur.

History of Patiala Gharana

The history of Patiala Gharana dates back to 600 years but it came to limelight only in 200 years ago. It began with Ustad Jasse Khan, grand father of Mian Kale Khan and father of Ustad Ditte Khan. They sang according to the Punjabi Culture. The Khayal style was thus introduced by Ustad Mian Kalu Khan. Hence it can be said that the foundation of Patiala Gharana was laid by him.

Main Kalu Khan became the disciple of Ustad Behram Khan Dagur of Jaipur. After some time, he got the opportunity to listen to Mian Tanras Khan who was the court musician of Bahadur Shah II. He became the disciple of Ustad Tanras Khan and received the training in Khayal singing for ten years. Later he left the Dhrupad style and took up the style of khayal singing. He then began teaching Khayal to his disciples. Sons of Ustad Mian Kalu Khan, Ustad Nabi Baksh, Ustad Ali Baksh and Ustad Fateh Ali also received training from him. His son Ali Baksh and disciple Fateh Ali proved to be god brothers. The duo became very famous. The His Majesty of Taonk State was so impressed by the gayaki of the two that he conferred the title of Karnail and Jarnail.

The eldest son Ustad Mian Jaan Khan did not have any child but the younger son, Mian Ahmad Jaan Khan had two sons, Ustad Baqar Hussain Khan and Ustad Illiyas Hussain After the partition of India Illiyas Khan settled in Pakistan. Illiyas Khan has a son Anwar Hussain Khan. Both of them are popularized the gayaki of Patiala Gharana in Pakistan. This lineage is the tradition of Ustad Nabi Baksh.

Ustad Ali Baksh had a son, Ustad Akhtar Hussain Khan. He had three sons, Amanat Ali Khan, Fateh Ali Khan and Hamid Ali Khan. Fateh Ali had a son named Ashiq Ali Khan. He did not get married thus; this lineage could not be expanded further.

Ustad Kale Khan Kasurwale and Ustad Ali Baksh Kasurwale were also the disciples of Ustad Fateh Ali. Ustad Bade Gulam Ali Khan also had been his disciple. Brothers of Ustad Bade Gulam Ali Khan, Ustad Hamid Khan and Ustad Abdul Rehman Khan also received the training in the style of the Patiala Gharana. The grandsons of Ustad Bade Gulam Ali Khan, Mazhar Ali Khan and Jawaad Ali Khan are now carrying on the tradition of this Gharana.

Ali Baksh Kasurwale and his son Ustad Bade Ghulam Ali Khan used to sing Khayal. His son Munawwar Ali Kahn followed the tradition of his father and was conferred the title of "Tan Samarat." Ustad Raza Ali Khan, the son of Ustad Munawwar Ali Kahn is carrying on the tradition of his father and two grandsons of Ustad Bade Ghulam Ali Khan, Mazhar Ali Khan and Jawaad Ali Khan are also following tradition of Patialal Gharana, Mixture of four Gharanas, the Chumukhi Gayaki of Patiala Gharana became very popular due to its devoted artists.

Patiala Gharana however gained popularity during the last two hundred years. It was during the reign of the last Mughal king Bahadur Shah II. The king and the artist of the Delhi felt unsafe there hence all the musicians fled to Punjab and took shelter in Patiala State. Raja Narender Singh was ruling the state at that time. He gave patronage to these artists. Later on many artists got training in this style which became very popular due to this uniqueness.

Features of Patiala Gharana

Features of Patiala Gharana inculcate many qualities that are distinguishable from others. The voice culture of Patiala Gharana is open throated. The use of gamak, meend, ghaseet, khatka and murki at the appropriate places, elaborate use of taanas, alap and complicated expansion of the raaga are a few characteristics which are a class of its own. The use of different rhythmical circles and the style of reaching sam make it a unique Gayaki style. This style is a mixture of four styles, Dhrupad Ang, Gwalior Style, the style of Jaipur and Dilli Gharanas. This gharana has its roots in Punjab thus the folk elements of Punjab are apparent in this style. Thumri of Punjab Ang is its speciality.

Voice Culture : The voice culture of Patiala Gharana employs the use of strong and full throated voice. Its speciality lies in the use of rich, sweet, melodious and intricate use of notes in three octaves. The use of notes in analytical style is expressive. There are the minute differences which distinguish this style from other gharanas. The use of different notes, melodious voice culture and the use of special types of gamaks makes this gharana a complete different style.

Use of Laya (tempo) : Every gharana has its own style for determining the tempo that is applicable in case of Patiala Gharana also. The Laya is usually medium from the very beginning. The khayal is sung in that Laya. In between, the use of different styles of taanas is done in the tempo suitable for the composition. The laya is controlled while the various intricacies like miraculous taans, alap, bol-alap and bol-taana are incorporated in between. Due to this discipline in maintaining the desired tempo, the Patiala Gharna is easily recognised and can be differentiated from other gharanas.

Use of Embellishments : The gayaki of Patiala Gharana is very rich in the use of different embellishments. It employs the use of kana, gamak, meend, khatka, murki and others. These elements are used in khayal at suitable places which depends on the creativity and imagination of the artist. These embellishments are used occasionally in a new style. The typical phrases enriched with gamak, lachak, sur, meend and kana is the uniqueness of Patiala Gharana. The use of sargam is presented in a very special manner in harmony with the nature, aesthetics and time of the raga. Due to its basis in Punjab, the Punjabi folk has influenced the gayaki of Patiala gharana. The use of these elements makes this style quite from other gharanas.

Pronunciation : The pronunciation of words in a composition is clear and expressive. The words are used in an artistic manner; the use of Punjabi, Gurumukhi, Sufiana Nabi words is quite prevalent in the gayaki of Patiala Gharana.

Bandishes of Patiala Gharana : Compositions are the basis of a gharana which show the nature of the gayaki. The very crisp short and impressive compositions are enriched with khatka, murki, kana, swar, Drut laya and very intricate taanas. The use of Firat and sapat taanas enhances the beauty of this style. These compositions are a style of its own which is totally different from other styles and gharanas.

Training on Patiala Gharana

Singers of the Patiala Gharana are known for their emotionally evocative and sensual singing style. They emphasize clear diction and enunciation, allowing listeners to experience a range of emotions through the voice. The gharana has a rich repertoire of lyrical compositions passed down through generations and to disciples outside the family.
Singers in the Patiala tradition excel in ragas like Malkauns, Darbari, Adana, Des, Bhopali, and Multani, showcasing their prowess in highly complex expositions of these ragas. However, mastering the Patiala gayaki is no easy feat. It requires years of dedicated practice and preparation.
Renowned vocalist Pandit Ajoy Chakrabarty, who belongs to the Patiala tradition, emphasizes the essential requirements for mastering this style. These include correct enunciation (bani), accurate voice projection (aakar), precise articulation of scales (sargam), and above all, excellent tayyari (practice). The Patiala Gharana places a strong emphasis on meticulous training and thorough knowledge of the intricacies of ragas and taals.
The gharana has a predilection for pentatonic ragas like Malkauns, which provide ample scope for ornamentation. Other ragas favored by Patiala singers include Darbari Kanhra, Ramkali, Shuddha Kalyan, and Bageshree. Vocalists in the gharana predominantly perform in taals such as Ektaal and Teentaal.
Patiala Gharana vocalists are often described as painters of music. Their renditions exhibit vivid imagery, with each phrase delivered like coloring a picture. The Patiala style of singing is marked by its unpredictability and the ability to evoke a range of emotions through the melodic and rhythmic interplay.

Styles of Patiala Gharana

Gayaki Styles of Patiala Gharana has been popular for its flavor, aesthetic and delicate style. The musicians of this Gharana pursue the tradition with complete dedication and execute in harmony with the discipline and tradition of their Gharana. This style is known for its crisp, artistic and short bandishes.

The special feature of Patiala Gharana is its rendering of taanas. These are very rhythmic, vakra (complicated) and Firat Taanas. The taanas sung by the artists are very imaginative and creative and are not bounded by the rhythmic cycle. Because of this aspect there is a great scope for creativity in swar, tala, bol-banav, sargam, taiyyari, bhav, incredible performance and originality in the renderings.

This style is very melodious and sweet. While singing khayal the khatka and murki is utilized in a very artistic and unique manner. The presentation of the khayal is embellished with bol-banav, bol-tana, sargam, meend and keeping to the laya and rhythmic circle. The purity of the raga is strictly maintained throughout the khayal performance.

As Patiala Gharana belongs to Punjab, the taanas of clear Aakar are presented not through the throat but through chest. After the khayal, the performance is concluded with Thumri of Punjab Ang. Because of unique taanas, gamak, gayaki of tarana style and sapat taanas this gharana can be easily differentiated from others.

Artists of other gharanas are also overwhelmed due to the hard work of the artists of this gharana. They have inculcated few features in their performances. Through their bandishes they have also honored the artists of Patiala Gharana. For example the following bandish in Raga Adana has been composed in the praise of Ustad Fateh Ali. "Tan kaptan jag mein kaha gayo, fateh ali tan chale hain aise jaise arjun ke ban tan kaptan." Even Roshan Ara Begum has sung this bandish. Singh Bandhu and many others have also performed it in Raga Adana. The famous artist of Gwalior Gharana Ram Krishna Bua has also sung bandishes in Raga Hamir in the praise of this gharana. Because of its varied characteristics Patiala Gharana has established itself as a unique gharana. This gayaki is known as the Chaumukhi Gayaki which is a beautiful rendition of Khayal, Thumri, Tarana and Sargam.

Renowned Singers of Patiala Gharana

The Patiala Gharana has produced a lineage of exceptional vocalists who have made significant contributions to the world of Indian classical music. Ustad Bade Ghulam Ali Khan, widely regarded as the greatest exponent of the gharana, left an indelible mark with his unmatched talent and unique style. His son, Ustad Munnawar Ali Khan, carried forward the legacy of the gharana with his captivating performances until his untimely demise in 1989.
Another prominent figure from the Patiala Gharana is Ustad Amanat Ali Khan, known for his exceptional vocal range and versatility. His brother, Ustad Bade Fateh Ali Khan, also contributed significantly to the gharana`s legacy. These two brothers from the Kasur-Patiala branch of the gharana left an indelible mark with their impeccable renditions of classical and semi-classical compositions.
Present-day exponents of the Patiala Gharana include Jagdish Prasad, who has skillfully carried forward the rich tradition of the gharana. Fateh Ali, Ammant Ali, and Hameed Ali Khan have upheld the Patiala legacy and continue to enchant audiences with their soulful renditions. Additionally, the dazzling duo Javaad and Mazhar Ali Khan have made notable contributions to the Patiala Gharana, showcasing their technical prowess and melodious expressions.
These renowned singers have not only preserved the rich heritage of the Patiala Gharana but have also pushed the boundaries of artistic expression within the gharana`s framework. Their immense talent and dedication have solidified the Patiala Gharana`s position as one of the most influential and respected vocal traditions in Hindustani classical music.