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alaap is perhaps the most revered part of Hindustani classical music. Being free of the bindings of words and rhythm, this anibaddha (free) form is perhaps the closest to pure melody. Creating and developing the raga atmosphere while systematically unfolding the raga is what separates the true masters from ordinary musicians. Blending the structural requirements and solemnity of an alaap in an emotive rendition is possible only by a blessed few. It calls for an all-encompassing passion, extra-ordinary taalim (training) and a life-time of rigorous saadhana (practice).

With textural changes in the fabric of Hindustani classical music, some of  the leading gharanas of yesteryears have all but vanished from the public eye. One of the casualties of this change  has been the once celebrated Agra Gharana. Though there are still some very capable and devoted musicians of the Gharana, the musical capabilities of this tradition appear to have been almost forgotten today. The magic of a nom-tom alaap in a characteristic  full-throated  voice–production, extensive use of the lower registers(mandra), powerful gamaks, elaborate meends, layakari  and, above all, the emotive style appear  to have vanished with the great master Aftab-e-Mausiki  Ustad Faiyyaz Khan Saheb and  few of his worthy successors who carried forward the great tradition. The ambience  created  by  an emotive alaap superbly rendered  in the Agra Gharana style  has to be experienced  to be believed.