While describing the physical and stylistic evolution of the sitar, we have traced its history from the sitar being used as purak instrument during qawwali recitals. Over a period, a lot of changes were made by different maestros including Ustad Imdad Khan, especially related to the expression of the presentations.
Imdad Khansaheb developed his right hand execution with amazing speed and accuracy. Though, the left hand was dexterous, it was treated with a lesser importance in the Imdadkhani baj. From his recordings, we note the highly right hand oriented bols with amazing speed and clarity. As far as the content is concerned, Imdad Khansaheb was involved with playing a few ragas though he would have known many ragas. It is believed that Puriya and Yaman were his favourite ragas.
Ustad Imdad Khan gave great importance to riyaz. His disciplined and meticulous riyaz has been talked about with awe and respect. It is believed that, once he started his riyaz with a lighted candle as a measure of time, his daughter was on her deathbed – subsequently she died, but Imdad Khansaheb did not break his riyaz until the candle, which was the measure of time, was completely burnt out.
It is in the later period of Ustad Vilayat Khan, that the Etawah–Imdadkhani baj became a perfect amalgamation of both right hand and left hand – it was Ustad Vilayat Khan who perfected the gayaki ang, though seeds of which were laid by Imdad Khansaheb.