The Banaras Gharana: A Complete Tradition and Lineage of Chaumukhi Gayaki

 

 Tradition and Lineage of Chaumukhi Gayaki 

The Banaras Gharana is one of the most soulful and spiritually rich traditions in Hindustani classical music. Rooted in the ancient city of Varanasi, it reflects a deep connection between music, poetry, and devotion. This tradition has flourished for over five centuries, shaped by legendary musicians, thoughtful composers, and devoted disciples. The earliest known figure in the Banaras Gharana is Pandit Chintamani Mishra, who lived around 1450. He was not only a skilled vocalist but also a spiritual thinker. His approach to music placed equal emphasis on melody, feeling, and inner discipline. He laid the foundational ideas that would shape Banaras Gayaki for generations to come. In the following centuries, the tradition was nurtured by respected names such as Pandit Gadadhar Mishra and Pandit Harihar Mishra. They passed on a legacy built on poetic richness and raga purity. This early phase centered around dhrupad and devotional music, closely linked to temple traditions.

With the emergence of Pandit Laxmidhar Mishra and Pandit Dilaram Mishra, the gharana entered a more structured phase. They were responsible for forming the first organized lineage of teaching and performance in Varanasi. Their disciples included Pandit Jagman Mishra, Pandit Devidayal Mishra, and Pandit Thakur Dayal Mishra. These musicians helped to establish khayal as a central form within the Banaras tradition.Later generations featured powerful artists like Pandit Prasaddhu Mishra, Pandit Shiv Sahay Mishra, and Pandit Ram Sevak Mishra. They carried the legacy with strength and grace, developing a vocal style that was rich in bhava, precise in layakari, and rooted in devotional expression. This tradition was continued with depth by Pandit Pashupati Sevak Mishra, Pandit Shiv Sevak Mishra, and Pandit Bhavani Sevak Mishra. Their contributions gave Banaras Gayaki its signature identity—emotional, lyrical, and deeply spiritual.

A parallel but closely linked stream in the gharana comes from Pandit Shiv Daya Mishra, whose disciple Pandit Jaikaran Mishra trained Pandit Baijanath Mishra. This line further continued through Pandit Jalpa Prasad Mishra, Pandit Rajeshwar Mishra, and Pandit Harishankar Mishra. These musicians were known for their subtlety, their clear understanding of raga aesthetics, and their connection to both classical and semi-classical forms.One of the most revered musicians of the twentieth century, Gayanacharya Pandit Bade Ramdas Mishra, emerged from this very tradition. A master of khayal, thumri, and bhajan, he was widely respected for his original compositions and spiritual presentation. His music reflected deep raga knowledge and poetic elegance. His legacy still inspires performers and scholars alike.

This heritage also includes contributions from Pandit Sharda Sahay and Pandit Gopal Prasad Mishra to Pt. Rajan-Sajan Mishra, who trained many committed disciples and strengthened the academic and practical branches of the gharana. A prominent representative of the current generation is Pandit Surendra Mohan Mishra, also known as Mohan ji. A direct descendant of Dilaram Mishra, he is recognized for his spiritual depth, rich voice, and command over traditional bandishes. From Pandit Chintamani Mishra to the present, the Banaras Gharana has remained a powerful tradition of emotion, structure, and spiritual beauty. It continues to thrive because of the devotion of its artists, the wisdom of its gurus, and the timeless power of its music.

: Note : If discrepancy kindly mail for deletion /updating in the blog. The information are gathered from various research paper. As  I also belongs to the same Gharana, oral transfer of the history and legacy from my Worthy Guruji Padmashree Pt. Surendra Mohan Mishra'Mohan Ji"and his family.

 : kukusa221@gmail.com

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Vocal Impurities and Remedies in Indian Classical Music- Part II

In Indian classical music, the voice is the primary instrument of expression, demanding precise control and a healthy vocal mechanism. However, vocal impurities—ranging from tonal inconsistencies to physical fatigue—can hinder a singer’s ability to perform optimally. Understanding these vocal disorders and their causes is essential for any vocalist seeking mastery. While some voice problems arise from physiological conditions requiring medical attention, many functional disorders can be corrected through dedicated vocal training and remedial exercises. This article explores common vocal impurities such as throatiness, unsteadiness, breathiness, breaks in voice registers, voice fatigue, and thinness of tone, along with their causes and effective remedies rooted in the tradition and science of vocal pedagogy Breathiness

Cause:

Breathiness, or a weak airy tone, results from the incomplete closure of the arytenoid cartilages. This allows unmodulated air to leak through the larynx, creating a frictional noise alongside the tone. It may also stem from excessive airflow through the vocal cords or be linked to either functional misuse or organic conditions.

Cure:

If not caused by a structural issue in the larynx, certain exercises can help:

• Humming exercises make the soft palate supple and encourage resonance through the nasopharynx, preventing hissing airflow.
• Soft staccato exercises on the vowel “Ah” train the singer to regulate exhalation. Singing short, light notes helps control breath flow and reduce air wastage.

Break in Voice-Registers

Cause:

A ‘break’ or discontinuity in voice quality during transitions between vocal registers typically arises from incorrect breathing and improper use of resonance. Singers often force their voice while attempting high notes, leading to this disruption.

Cure:

The adoption of diaphragmatic breathing is essential. Inhalation should involve wide expansion of the lower ribs and a full descent of the diaphragm, increasing breath capacity. During exhalation, the diaphragm gradually ascends as the abdominal muscles contract, while the ribs slowly contract due to intra-abdominal pressure. This process strengthens muscular control, allowing the singer to manage breath efficiently.

Moreover, the resonators used for lower tones should not be forced during higher notes and vice versa. Occasionally, adopting a lighter vocal mechanism slightly below the highest required pitch can help achieve smooth register transitions and consistent voice quality.

Voice Fatigue

Cause:

Voice fatigue, also known as ‘Phonasthenia,’ may result from physical or functional issues. Overworking the laryngeal muscles causes them to tire, resulting in a thin, unstable voice that often slips to a lower pitch. Additional causes include poor breath control, tongue interference, and singing at an unsuitable pitch level.

Cure:

Breath control exercises are key:

 Exercise I: Inhale and exhale slowly and steadily through the nose.

 Exercise II: Inhale quickly, then exhale slowly through both mouth and nose for eight seconds, gradually increasing to sixteen seconds.

 Exercise III: Deeply inhale, place hands on the diaphragm, exhale slowly while gently pressing to expel air fully. Repeat several times. 

   Exercise IV: Vocalize the vowel “Ah” on an easy pitch, sustaining the note until discomfort, then switch to humming on the same pitch. Increase vocalization duration gradually.

 Exercise V: Using a tape measure around the 6th and 7th ribs or near the breastbone arch, take a deep breath expanding the chest by one and a half inches beyond normal, then sustain notes on “Ah” without shaking until breath capacity is exhausted.

Unsuitable pitch levels force the laryngeal muscles to strain. Every individual has a natural pitch level, or sadja, where the voice can be produced effortlessly and with best quality. To find this key-note, descend the scale to your lowest audible note, then sing the madhyama (middle note) from there; this note is your ideal pitch.

Relaxing the mylohyoid muscle and flattening the tongue base can remove tongue interference. If fatigue stems from muscle overwork, complete vocal rest for 24 hours is crucial.

Thin or Feeble Voice

Cause:

This disorder may be organic or functional. Congestion in the throat and mouth cavities from respiratory infections reduces resonance. Enlarged tonsils and adenoids can block the throat passage, lowering voice volume. Functionally, incorrect resonance, improper breathing, and unsuitable pitch selection contribute to a weak voice.

Cure:

Resonating cavities must not be compressed. Jaw muscles should remain relaxed, and air must flow freely through the resonators. The tongue should move easily within the mouth while the jaw stays relaxed. The mylohyoid muscle at the tongue base should be completely relaxed, and the larynx should avoid pressing against the hyoid bone. True resonance is achieved through, not with, the throat.

Good breathing habits must be cultivated, and the choice of shadja (key-note) greatly influences voice quality. Richness in voice results from harmonics aligning with vocal formants.

In recent decades, many Indian classical singers have lowered their shadja (key-note), often to accommodate microphone use, resulting in thinner voices. Historically, singers preferred higher key-notes such as D or above, producing richer, more powerful tones. Singers are therefore encouraged to find and use their correct Adharashadja to best showcase their vocal qualities.

Note : The article is based on the book by Prof. SAK Durga " Voice Culture - The Art of Voice Cultivation" 

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Vocal Impurities and Remedies in Indian Classical Music- Part I

 

In the domain of Indian classical music, voice disorders significantly affect a singer's tonal quality and performance. These disorders are broadly classified into two categories: Organic and Functional. Organic disorders involve physiological abnormalities in the vocal apparatus and necessitate medical attention. Functional disorders, however, pertain to how the vocal mechanism is used and should be addressed by a trained vocal pedagogue.

Common functional voice disorders include:
(a) Throatiness
(b) Unsteadiness
(c) Breathiness
(d) Breaks in voice registers
(e) Voice fatigue
(f) Thin or feeble voice
(g) White tone
(h) Nasality
(i) Huskiness
(j) Hoarseness
(k) Register weakness
(l) Uneven voice

These defects can be corrected through accurate diagnosis and appropriate remedial training. As noted by M.M. Babcock:
"Vocal culture is an individual matter, and the methods of treatment of the voice must be as carefully differentiated according to the needs of the individual as the methods of treatment of any other bodily ailment."

A. Throatiness

Cause:
Throatiness occurs due to excessive tension in the jaw, neck, and chest muscles, which interferes with the optimal functioning of the laryngeal muscles. In this condition, singers often forcefully squeeze the larynx between the jaw and neck muscles to approximate the vocal cords, resulting in a constricted and muffled tone.
Improper tongue posture and tension in its muscles also contribute, as does the raising of the larynx against the hyoid bone or the contraction of swallowing muscles during phonation.

Cure:
To alleviate this tension, begin by relaxing the jaw muscles. Lower the head slightly with the chin tucked inward. Gently move the head side-to-side and let the jaw drop down and back. This relieves tension in the jaw and neck. Yawning with a closed mouth helps lift the soft palate and open the throat passage, further relaxing the laryngeal region.

The tongue should rest flat with its tip touching the lower gum ridge; the base of the tongue must be pulled forward to avoid constriction. Correct breathing—especially avoiding the use of swallowing muscles to close the glottis—is essential. The larynx must stay freely lowered, while the hyoid bone remains elevated, maintaining adequate space between the two.

B. Unsteadiness

Cause:
An unsteady or wobbling voice arises from poor breathing habits and psychological factors such as nervousness or self-consciousness. Using swallowing muscles to close the glottis, having a jumpy jaw, or a trembling tongue also contributes to vocal instability. As V.E. Negus notes in The Comparative Anatomy and Physiology of the Larynx, effective air control relies on a combined lower thoracic and diaphragmatic mechanism.

Cure:
Adopt diaphragmatic breathing to control airflow evenly. This approach prevents tension in the chest and throat and avoids the downward pull of abdominal muscles. Ensure the jaw is tension-free, and relax the mylohyoid muscle at the tongue’s base to prevent quivering. Singing softly within a comfortable pitch range also aids in developing steadiness. Lastly, overcoming mental blocks such as fear or self-consciousness requires dedicated focus on the music itself, shifting attention away from the singer and onto the performance.

Note : The article is based on the book by Prof. SAK Durga " Voice Culture - The Art of Voice Cultivation" 

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Sarangang and its associated Ragas

 I apologise for being late in update the blog ... i was not well to focus mind to write new things because of few emergency. and busy office schedule. 

I appreciate your patience and thank you all for support . now i will update regularly 

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Khamajaang and its associated Ragas

In the vibrant tradition of Hindustani classical music, raga-ang plays a vital role in grouping ragas based on shared musical features. Among these, khamajaang holds a special place for its expressive nature, semi-classical flavor, and flexible melodic possibilities. But what exactly is khamajaang, and which ragas fall under this ang? Let’s delve into this musical framework and uncover its aesthetic identity.

The term "khamajaang" refers to a stylistic family of ragas that either belong to the khamaj thaat or display melodic behavior resembling raga khamaj. It is not limited by thaat alone; rather, it is a practical categorization based on performance style, note treatment, and emotional flavor. Raga khamaj is known for its sweet, romantic, and graceful character. It generally uses shuddha Ni (natural seventh) in ascent and komal ni (flat seventh) in descent. This blend adds a semi-classical nuance, which makes it versatile for light classical forms like thumri, dadra, and bhajan.

Khamajaang ragas are identified by certain common traits. While they are mostly drawn from the khamaj thaat, their key feature is the use of both shuddha and komal ni, typically treating shuddha Ni in ascent and komal ni in descent. The notes patterns like Sa Ga ma Pa, Ga ma Pa Dha ni Dha Pa, Dha ma Ga, Ga ma Pa Ni Ni Sa....... Sa ni Dha Pa Dha ma Ga, ma Ga Re Sa..  These ragas evoke moods associated with romance, devotion, or gentle charm and are often performed in the evening or night. Because of their expressive nature, they are equally suited to classical and semi-classical renditions.

Several ragas fall under the umbrella of khamajaang. It is extensively used in thumri, hori, kajri, and bhajan compositions. Raga Desh, Tilak Kamod, Jhinjhoti, Raga Sorath, Tilang  falls uners the raga because these raga notes combination sometimes reflects notes that are prominently used in khamajaang. Like Sa ni Dha Pa , Dha ma Ga  in Raga Desh, Ga ma Pa Dha ni Dha Pa, Dha ma - in Ahir bhairav  shows the flavor of khamaj, especially in its melodic structure and treatment of ni. It is popular in monsoon compositions and even patriotic songs. Tilak kamod is a delicate and beautiful raga that often leans on the khamaj-ang for its graceful appeal. It shows the use of komal ni in descent and often features lyrical ornamentation.

Raga jhinjhoti is a widely used raga in light classical genres and strongly reflects the khamaj identity. It is known for its gentle, lilting movement and is favored for expressive and improvisational singing. Raga khambavati is another example; it shows khamaj-like features and is used in both classical and lighter genres. Raga jaijaiwanti, though structurally complex and also influenced by kafi-ang in places, often carries the melodic essence of khamaj through its ni usage and lyrical movements.

Khamajaang ragas form the core of semi-classical music traditions. These ragas serve as foundational frameworks in thumri, dadra, kajri, hori, and devotional compositions. The flexibility of these ragas allows performers to explore emotional depth and lyrical grace without being tightly bound by rigid rules. As a result, they are particularly well-suited for expressing subtle emotions and romantic or devotional sentiments.

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