Baba Behram Khan is highly regarded as the founder of the Dagar-vani. His father, Gopal Das Pandey (Imaan Khan), was also a Dhrupad singer; however, it was Behram Khan who developed, refined and established this repertoire of singing and playing.
Alap plays a very important role in the melodic improvisation of Dagar-vani. Dagar-vani has a very intricate and complex system of rhythmic improvisation, in conformity with the mood of melody and song-text.
The whole process of Alap in the Dagar tradition is like a meditation, immerging into the mood of the melody through extempore manifestation of creativity. In course of Alap, endless myriad total patterns are created by the application of intonation and variable micro-tones, which generates a state of supreme bliss for the performer and the listener as well.
Voice culture is an essential discipline of this tradition with the first course of practice starting early morning and usually finishing before sunrise. Prescribed methods and courses are followed at different times of the day and night for efficient voice training.
In the Dagar tradition, singing and playing both are practiced with equal importance, voice and the rudraveena go together like a complement to each other. According to the principles of Dagar tradition, voice is considered to be a sort of veena and is termed Gatra-veena.
Right intonation, application of micro-tones appropriated for the melodic mood is another significant feature of the Dagar-vani.