. ▁Em phas is ▁is ▁laid ▁on ▁bold , ▁full - th ro ated ▁and ▁robust ▁voice ▁production , ▁and ▁singing ▁in ▁the ▁lower ▁register ▁( m andra ) ▁is ▁fav oured . ▁Keep ing ▁in ▁t une ▁with ▁its ▁d h ru pad ic ▁orig ins , ▁the ▁sing ers ▁use ▁broad ▁and ▁powerful ▁orn ament ations ▁( g am aks ), ▁extensive ▁gl ides ▁( me ends ), ▁and ▁reson ant ▁art ic ulations ▁of ▁notes . ▁As ▁with ▁the ▁G wal ior ▁g har ana , ▁the ▁A gra ▁sing ers ▁acc ent uate ▁the ▁importance ▁of ▁the ▁band ish ▁and ▁its ▁method ical ▁ex position . ▁Sing ers ▁following ▁F ai y az ▁Khan ' s ▁style ▁resort ▁to ▁the ▁d h ru pad ic ▁nom - tom ▁al a ap ▁before ▁singing ▁the ▁band ish . ▁The ▁sing ers ▁of ▁this ▁g har ana ▁are ▁also ▁great ▁master s ▁over ▁lay ak ari ▁or ▁the ▁rh yth mic ▁component . ▁In ▁fact , ▁lay ak ari ▁is ▁the ▁foundation ▁on ▁which ▁the ▁sing ers ▁build ▁the ▁ed ifice ▁of ▁the ▁band ish . ▁A gra ▁sing ers ' ▁t ih ais ▁are ▁eager ly ▁await ed , ▁as ▁are ▁their ▁n if ty ▁ways ▁of ▁arriv ing ▁at ▁the ▁same , ▁by ▁building ▁up ▁anticip ation ▁within ▁the ▁listener . ▁ ▁This ▁is ▁the ▁only ▁G har ana ▁that ▁has ▁still ▁continued ▁to ▁sing ▁D h ru pad - D ham ar ▁along ▁with ▁Nom - Tom ▁A