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Kirana gharana
Kirana Gharana is one of the most prolific Hindustani khyal gharanas., and is concerned foremost with perfect intonation of notes (swara).
==Singing style==
The central concern of the Kirana style is swara, or individual notes, in particular precise tuning and expression of notes. In the Kirana Gayaki, the individual notes (swaras) of the raga are considered not just random points in the scale but independent realms of music capable of horizontal expansion. Highly emotional ''pukar''s in the higher octaves form a part of the musical experience. Another unique feature of this gharana is the highly intricate and ornate use of the ''sargam taan'' (weaving patterns with the notations themselves) introduced by Abdul Karim Khan under influence from the Carnatic classical style.
In the late nineteenth century Abdul Karim Khan and Abdul Wahid Khan revolutionized the khayal gayaki by introducing the vilambit (a slow tempo section) to delineate the structure of the raga note by note.
Frequently performed ragas by musicians of the gharana include Todi, Lalit, Multani, Patdeep, Puriya, Marwa, Shuddha Kalyan, Darbari Kanhara, and Komal-Rishabh Asavari. Noted Marathi thespian PuLa Deshpande has pointed out that performers from the Kirana gharana are particularly fond of the Komal Re/Rishahb (or minor second in the western system) note of the Indian Classical Music scale, a frequent feature of these commonly performed ragas.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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