• Kirana gharana is one of the most prolific Indian classical khayal gharanas, and is concerned foremost with perfect intonation of notes(awara)
• In the 19th-century the Kirana gharana coalesced around Miyan Bande Ali Khan, a player of the rudra veena.
• The gharana’s style was further developed, and established as one of the prominent styles in modern Indian classical music in the late 19th / early 20th centuries by the musicians Abdul Karim Khan and Abdul Wahid Khan
• The central concern of the Kirana style is swara, or individual notes, in particular precise tuning and expression of notes.

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• In the Kirana Gayaki (singing style), the individual notes (swaras) of the raga are considered not just random points in the scale but independent realms of music capable of horizontal expansion.
• Highly emotional pukars in the higher octaves form a part of the musical experience
• Another unique feature of this gharana is the highly intricate and ornate use of the sargam taan (weaving patterns with the notations themselves) introduced by Abdul Karim Khan under influence from the Carnatic classical style.
• In the late nineteenth century Abdul Karim Khan and Abdul Wahid Khan revolutionized the khayal gayaki by introducing the vilambit (a slow tempo section) to delineate the structure of the raga note by note.
• Frequently performed ragas by musicians of the gharana include Todi, Lalit, Multani, Patdeep, Puriya, Marwa, Shuddha Kalyan, Darbari Kanhara, and Komal-Rishabh Asavari