Listen to Music clips from the following compositions
1. Premnagar ka anth na paya - Raga Bibhas
2. Mohi tohi lagi kaise chute - Raga Desh
3. Mori Chunari Mein - Raga Kirwani 
Khayal in Deshkar

The Form

Tie Khayal originated and grew in the court of Mohammed Shafi Rangila in the mid 18th century, probably as a reaction against the rigidity of Dhrupa, which had been, till then, the dominant form. Devotional in character, Dhrupadwas sung in strict adherence to certain mathematical relationships between the musical notes, the beat and the style of the song. The Khayal, on the other hand, granted the singer the freedom to 'create 'music within certain frameworks of notes known as raagas and rhythmic cycles known as taals. Most importantly, it made the song the basis or elaboration, presiding the integrity of its sense and mood, unlike Dhrupad, which fragmented words into syllables for rhythmic correspondence. Secular in character, the Khayal was eclectic in nature. It drew its inspiration from folk music at one end and Dhrupad at the other end of the musical spectrum. In spirit the Khayal echoed the glorious freedom of ' Bhakti ' and 'Sufism'. In Pandit Sharatchandra Arolkar's vividp phrase, "The Khayal is fluid sculpture. "



Site created and maintained by Tanmay Patwardhan . Contact Tanmay at