Bhabani Shankar Dasgupta
Abstract
This article, based on the historical documentation by Bhabani Shankar Dasgupta, explores the origins, structural evolution, and technical mastery of the Masidkhani Gat. Originating from the lineage of the legendary Tansen through Ustad Masid Khan, this Vilambit (slow) instrumental style marked a revolutionary shift in North Indian classical music by integrating the expressive depth of Khayal vocal conventions into stringed instruments like the Sitar and Sarod. The study details the unique architectural components of the Gat—including the Sthayee, Antara, and the transitional Manjha—and examines the rhythmic precision required to execute Tans within the 16-beat Teental cycle. Furthermore, it highlights Masid Khan’s physical innovations to the Sitar and the subsequent establishment of the Jaipur Baaj (or Paschimi Baaj). By tracing its journey from royal courts to contemporary global stages, the article underscores the enduring legacy of the Masidkhani tradition as a cornerstone of the instrumental repertoire.
Key Words: Masidkhani Gat, Vilambit Teental, Jaipur Baaj (Paschimi Baaj), Ustad Masid Khan, Indian Classical Instrumental Music, Khayal Conventions, Sitar Pedagogy, Rhythmic Structure (Matras), Wardha (Quatrains), Vocal-Instrumental Synthesis.
Introduction
The Masidkhani Gat and Baaj represent the foundational “slow” style of North Indian classical instrumental music. Created by Ustad Masid Khan—grandson of Karimsen and a direct descendant of the legendary Tansen—this style revolutionized the 18th-century musical landscape. It served as a watershed moment, bridging the gap between ancient instrumental traditions and the lyrical depth of vocal music.
The Historical Context
Before the emergence of Masid Khan, instrumental music was heavily influenced by the Dhrupad tradition and the styles established by Amir Khusru. Belonging to the Jaipur (Senia) Gharana, Masid Khan sought a more systematic and melodic way to explore Ragas.
As historical records suggest, “Karimsen… was a proficient Been and Rabab player,” but it was his grandson Masid Khan who “brought about a revolutionary change in the previous conventions of instrumental music.” By training his son, Bahadur Khan (Bahadur Sen), in this individual style, he ensured the survival of what is now known as the Paschimi Baaj (Western Style).
Structure of the Gat (Composition)
The Masidkhani Gat is strictly composed in Vilambit Teental, a 16-beat cycle played at a slow tempo. Its structure is highly mathematical, designed to provide a stable framework for complex improvisation.
Rhythmic Cycle: The composition typically begins on the 12th beat (Matra), leading with tension toward the Sam (the first beat).
The Mnemonic (Bol): The stroke pattern acts as the “DNA” of the style:
DIR DA DIR DA / RA DA DA RA / DIR DA DIR DA / RA DA DA RA
Melodic Parts (Wardhas): A full composition consists of quatrains that mirror vocal music:
Sthayee: The primary theme in the lower or middle register.
Manjha: A transitional section; in Hindi, the word signifies “something located in the middle.”
Antara: Exploration of the higher register.
Sanchari & Abhog: Further melodic developments, often consolidated in modern performances.
Technical Evolution: The “Baaj” (Style)
The term Baaj refers to the specific technique or “voice” of the instrument. Under Masid Khan, the physical makeup of the Sitar was altered to accommodate this new musical vision.
Vocal Emulation: The style prioritizes Meend (glissando) and Kan (grace notes) to mimic Khayal singing.
String Innovation: Masid Khan “attached five strings instead of three strings to his Sitar” to allow for a greater melodic range. Notably, the Jaipur tradition at that time avoided sympathetic strings (Tarab) to maintain tonal purity.
Instrumental Rigidity: Unlike the faster Rezakhani style, this Baaj requires the player to maintain a fixed stroke pattern even during complex Tans (melodic expansions).
Performance Practice
In contemporary performance, the musician uses the Gat as a canvas to portray the Raga’s character through its principal notes: the Vadi (king note), Samvadi (minister note), Anuvadi, and Vivadi.
A distinct hallmark of this tradition is the timing of the Tan. As observed by Dasgupta, “a musician generally begins a Tan from the Som (first beat), ends it at the 10th Matra (beat) and returns to the Gat composition at the 11th Matra.” This return occurs during the Khali (the off-beat section spanning beats 9–12), creating a sophisticated rhythmic resolution.
Comparison at a Glance
| Feature | Masidkhani Gat | Rezakhani Gat |
| Tempo | Vilambit (Slow) | Drut (Fast) |
| Origin | Jaipur / Western India | Lucknow / Eastern India |
| Rhythm | Primarily Teental | Various (Teental, Ektal, Jhaptal) |
| Starting Beat | Usually 12th Matra | Usually 7th or 12th Matra |
| Focus | Lyrical / Vocal depth | Virtuosity / Speed |
Endnotes (MLA Style)
- Dasgupta, Bhabani Shankar. “A Short History of Masidkhani Gat and Baaj.” Unpublished manuscript/Article.
- The term Baaj refers specifically to a style or technique of playing an instrument.
- Teental is a 16-beat cycle divided into four sections (vibhaags) of four beats each.
- Khayal is the modern genre of classical singing in North India, characterized by imagination and ornamentation.
- The Som (or Sam) is the first beat of the rhythmic cycle and the point of highest resolution.