Jaipur-Mewati (vocal)

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The music of this gharana, also called just Mewati gharana, founded by Ghagge Nazir Khan avoids the accepted norm of elongating words for the sake of rhythm. Sargams and tãns (such as sapat-tãns) are employed to provide the versatile link that is needed. The literary context and the emotional appeal of the raga are stressed, and expressed through the use of techniques such as the murchhana technique (enhancing the raga by changing the tonic).

This last is important because of the emphasis on the mood (rasa, bhava) of the raga. This school can be said to be bhava-pradhan (pradhan: of great importance, superior), and as such the ornamentations and the structure of the performance are geared to ensuring a continuity. This, the akar is conspicuous by its absence (as in the Kirana gharana). The bandish section is characterised by the notes and the raga itself that span all three octaves; the mukhda of both sthayi and antara sections is developed through bol alap. This part closes with the mukhda of the sthayi section, to be followed by layakari and ornamental devices particularly the gamak and sapat tãns.

The bhajan quality of the performances is a feature unique to this gharana, and reveals a religious influence.

The gharana is represented by Pandit Jasraj and his two disciples Sanjeev Abhyankar and Rattan Sharma. This is reminiscent of Ghagge Nazir Khan and his two disciples, Nathulal and Chamanlal. Nathulal's nephew Pandit Motiram continued the tradition through his sons Pandit Maniram and Pandit Jasraj.

Artists

Major artists in alphabetical order

• Pt Jasraj
• Pt Maniram
• Pt Motiram
• Pratap Narayan
• Kala Ramnath
• Sanjeev Abhyankar
• Rattan Sharma

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