‘Khayal’ is a contemporary popular form of Hindustani Classical Vocal Music to present a complete picture of the melodic scale called the ‘Raga’. Its genesis is the austere form called ‘Dhrupad’. ‘Khayal’ is a Persian word, meaning ‘Thought’. The genius of the creator of the Raga in combination with the performer’s improvisation, makes a ‘Khayal’.
There are two distinct compositions of the Khayal, also known as ‘Bandish’ in a performance. The ‘Vilambit’ Khayal or Bandish is sung in a slow rhythmic cycle. This is followed by the ‘Madhya Laya’ or ‘Drut’ Khayal or Bandish sung in a medium to fast tempo.
Bandish is divided into two parts, namely the ‘Sthai’ which is sung in the lowere and middle register of the melodic scale, and the ‘Antara’ which is sung in the upper and middle register of the melodic outline.
‘Khayal’ soon gained popular acceptance because of its communicative nature. Thus encouraging performers to further experiment with its style, thereby enhancing its beauty.
About the Ragas:
This album, originally recorded in 1992, showcase Arati Ankalikar’s mastery over ‘Khayal’ at such a tender age.
The subtle aggressiveness, a trait of that age has been expertly handled by Arati. Having chosen night raga melodies, Arati has done complete justice to the traditional repertoires. Named after Lord Shiva, the ancient Raga Kedar occupies a pride of place in Hindustani Classical Music. Arati’s soulful voice lends to this track the divinity it deserves. Her rendition of “Peer Parai Jaane Nahin Balamwa” in Raga ‘Jogkauns’, both, being creations of the legendary Gunidas, Pt. Jagannathbua Purohit, is a treat to the connoisseur’s ears. The majestic feel of Raga Malkauns leverages the album to great heights, each time you listen to it.
Arati Ankalikar is recognized as one of the top vocalists of the younger generation. Endowed with a rich resonant voice, Arati’s performances are marked by an excellent command over both the rhythm and the melody. She started her training with veteran Late Pandit Vasantrao Kulkarni of the Agra Gwalior Gharanas. And this was just the beginning. Later, she was fortunate to receive training from none other than Gana Saraswati Smt. Kishori Amonkar of the Jaipur Atrauli Gharana; as well as Pandit Ulhas Kashalkar. Arati is continuing her training under Pandit Dinkar Kaikini.
All her gurus have played a great role in influencing her style. In fact, one can see a pleasant blend of the various gharanas represented by her gurus, in her performances.
A recipient of the Surashri Kesarbai Kerkar scholarship (1980-82), Arati has received prestigious Pt. Jasraj Award (2002) and Late Pt. Kumar Gandharva Sanman (2006-07) (M.P.).
Arati has performed at many prestigious conferences in India and abroad.
1. Raga – Kedar 
Khayal Vilambit Teentaal
“Payo Payo More Ram Naam Dhan”
Khayal Drut Teentaal
“Kanha Re Nand Nandan”
Tarana – Teentaal
2. Raga – Jogkauns 
“Peer Parai Jaane Nahin Balamwa”
3. Raga – Malkauns 
Khayal Ada Chautaal
“Chalo Hato Piya”