 Khan (a.k.a. Sadarang) and his nephew Firoz Khan (a.k.a. Adarang), both musicians in the court of Muhammad Shah Rangile (1719–1748). It seems likely that ඛ්‍යාල් already existed at the time, although perhaps not in the present form [2]. The compositions of Sadarang and Adarang employ the theme of Hindi love-poetry. The ඛ්‍යාල් of this period also acquired the dignity of Dhrupad and the manner of the veena in its glide or meend, plus a number of musical alankars that were introduced into the body of the composition[තහවුරු කර නොමැත]. The gharana system arose out of stylistic rendering of the ඛ්‍යාල් by various subsequent generations of musicians. The gharanas have distinct styles of presenting the ඛ්‍යාල් — how much to emphasize and how to enunciate the words of the composition, when to sing the sthayi and antara, whether to sing an unmetered alap in the beginning, what kinds of improvisations to use, how much importance to give to the rhythmic aspect, and so on.With India united into 