Bangla Kheyal

As a student at Rabindra Bharati University, Azad Rahaman's curious and creative mind used to wonder why the major forms of Hindustani classical songs (dhrupod, dhamar, kheyal) were written and performed in Hindi and in other languages, but never in Bangla. He was determined to establish Bangla language as a medium of performing pure classical styles like dhrupod, dhamar, as he strongly believed that the regional flavour was essential while presenting classical Bandish (melodic composition).

In the context of Hindustani classical Kheyal Bandish- which ties the song,  is a fixed melodic composition around which the singer or musician improvises with vistaar, sargam, taan and so on, and presents a complete Kheyal of their choice of raaga and temporal extension. In north Indian classical music—as it is a raga-based system— There can be maximum of four stanzas in classical bandishes—Sthayee/Asthayee, Antara, Sanchari, and Abhog. However, in Kheyal, it is generally limited to the first two. 

Azad Rahaman was truly dedicated in establishing the importance of learning classical music in one's mother language. Rahaman decided to write Bangla bandishes based on Hindustani classical raagas so that Bangla speaking community can easily relate to the meanings of the bandishes.   Based on his academic knowledge of Hindustani Classical Music, he wrote and composed Bandishes in Bangla following the structure and patterns of ‘Bhatkhande’.  His composed Bandishes are complete with three pillars of Raag Sangeet, Raga (Melodic Matrix), Tala (Rhythmic Cycle) and Pada (Lyrics).  He also emphasised on temporal extensions and composed three types of Bandishes — Bilombito (composed in slow tempo), Madhyalaya (of medium tempo), and Druto (fast tempo). The maestro gave equal importance on writing the lyrics of Bandishes. His lyrics of Dhrupod reflected  'Eternal, Unchanging, Immutable, and Ultimate Reality'.  

His aim was to advocate the practice of classical music amongst different generations and thus he created a new genre--‘Bangla Kheyal’ in Bangladesh, for which he worked tirelessly and with highest integrity. Azad Rahaman’s composed Kheyal, Dhrupod, Dhamar, Toppa, Thumri, Kajri, Dadra were performed by eminent classical singers in Bangladesh Television & other private television channels. He was an eloquent speaker and presenter with depth of knowledge. He hosted classical programs in Bangladesh Television (ShurLahari, Dhrupodi) and Bangladesh Radio (Raag Rong) for a long time. He produced the first ever ‘Bangla Kheyal LP’ in Bangladesh in 1988 in association with UNESCO Bangladesh. His composed bangla classical Bandishes were performed at the Ramnabotomul  'Bangla New Year Celebration' organised by Chayanaut. He conducted workshops on Bangla Kheyal at the Ravindrabharati University in late 1990s. Bangladesh Shilpakala Academy organised month-long 'Bangla Kheyal Workshop' conducted by the maestro himself in the year 2000, participated by classical singers and teachers from district academies. In 2005, Bangla Academy organised a program on Azad Rahaman's classical compositions. For years, his established organisation Shongskriti Kendro (Centre for Education, Creative and Performing Arts) organised workshops on Bangla Kheyal in different continents.  Maestro Azad Rahaman is the author of two volumes of ‘Bangla Kheyal’ published by Bangla Academy, Dhaka.

Maestro's Bangla Kheyal, Dhrupod, Dhamar and semi classical songs were performed by eminent classical vocalists Ostad Yaasin Khan, Ostad Akhter Sadmani, Nilufar Yasmin, Ostad Leo J Baroi, Professor Kaberi Kar, Dr Asit Roy, Ostad Karim Shahabuddin, Ostad Yakub Ali Khan, Dr Leena Taposhi Khan, Dr Nashid Kamal, Dr Harun Ur Rashid, Sri Anil Kumar Shaha, Dr Priyanka Gope, Dr Alif Layla, Janab Khairul Anam Shakil, Dr Padminee De Roy, Sri Bizon Mistri, Dr Rituporna Chakraborti and many more.
Bangladeshi private television, Channel I, has been organising since 2013 the annual ‘Bangla Khayal Utshab,’ a nightlong musical event where artistes from across the country participate.