Late:- Ustad Qurban Hussain khan Sahab was the royal court singer (Raj DARBARI GAYAK ) he had learned classical music from his father ustad Imtiyaz Hussain khan Sahab after that he teached classical (KHAYAL GAYAKI) to his student’s in Gwalior & Hyderabad. Some the student’s know as DHANRAJ, SORAJ BHAN, KALEEM KHAN SAHAB and many student’s in London some student’s are settled in Canada, USA etc.
He used to play all kind of instruments. Some like.
1) Sitar
2) Tabla
3) Violin
4) Harmonium
5) Flute and etc instrument’s He had achieved many awards in his life like’s 1) Raj GAYAK award 2) smarat award 3) sitar-e-Hindustan award 4) sur sangeet award 5) nizam award and other’s His singing was so emotionally attached not only for common man but also a patient’s patient’s can easily u& happy from help to improve progress & development for there health.

The Gwalior Gharana is one of the oldest Khayal Gharanas and one to which most classical Indian musicians can trace the origin of their style. The rise of the Gwalior Gharana started with the reign of the great Mughal emperor Akbar (1542-1605). The favorite singers of this patron of the arts, such as Mivan Tansen. First amongst the vocalists at the court, came from the town of Gwalior.

Apart from the emphasis on notes (swara), another distinguishing feature of the Gharana is its simplicity because through simplicity alone can the singer and the listener arrive at the full beauty and impact of the raga. One means to this is of course the selection of well-known ragas so that the listener is saved the effort of trying to identify the raga. Attention can be focussed on the raga and the presentation of it. While the Khayal singer does include raga vistar (melody expansion) and raga alankara (melody ornamentation to enhance the beauty and meaning of the raga, there is no attempt to include the tirobhava feature i.e. using melodic phrases to obscure the identity of the raga in the interest of adding interest or mystery to the listener's experience.

Both dhrupad and Khayal singing evolved in Gwalior and there are many overlaps. In the Khayal style there is one form, mundi dhrupad, that incorporates all the features of dhrupad singing but without the mukhda. The Gwalior Gharana usually prefers to begin ragas in the medium tempo (Madhya laya) rather then the slow tempo (vilambit laya) as is the norm with other Gharanas.

The Gharanas of Khayal gayaki (singing) are :
Gwalior gharana Kirana gharana Jaipur-Atrauli gharana Agra gharana Patiala gharana... Rampur-Sahaswan gharana Mewatj gharana Bhendi Bazar gharana.

Ustad
Aziz Ahmed Khan Warsi
The creation of mystic imagery, the establishment of a spiritual dialogue, a vehicle for social and political comment or quite simply, sheer poetic entertainment .... Qawwali has been musical foundation of emotional integration for almost the last nine hundred years. A window to the values and beliefs of Sufi thinking and philosophy, the art of qawwali singing has traveled far and during this colorful Journey it has found anchorage at the shrines of great saints and in the voices of great stalwarts. Ustad Aziz Ahmed Warsi was one of them.
In the world of qawwali singing Ustad Aziz Ahmed Warsi's name is a sub continental legend that is remembered with pride, respect and admiration. A purist of the form, Ustad Aziz Ahmed Warsi embellished the hallowed tradition of the art of qawwali singing - inherited by him in the Nizamshahi city of Hyderabad - with his unmatched ability to express the most emphatic poetry with consummate ease and refined perfection. He knew better than most others that the magic of a qawwali performance resides as much in the projection of the verse as in its rendering. This is one of the reasons why his unfettered singing never needed to find refuge in the vocal jugglery or presentation gimmicks that have come to be associated with qawwali singing today Every word, every phrase of Ustad Aziz Ahemd Warsi's qawwali and ghazals was finely sculpted with the power of heartfelt emotions and expressions, to leave an indelible imprint on the minds of qawwali lovers across the world.
"Bheekh de jaaiye apne deedar ki'' 'Kab tak mere Maula', 'Kab Aayee Ambia', the all time hit 'Maula Salim Chisti' from the film 'Garam Hawa' or one of the traditional Amir Khusrau classics - gifted with a voice ideally suited to the art of qawwali singing. Ustad Aziz Warsi has left behind a fascinating repertoire that not only made him a household name in his lifetime but also earned him national recognition is the form of the padma Shri.

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