This research paper presents a comprehensive and analytical study of the teaching methodology, performance style, and disciples of Ustad Manju Khan, one of the head most tabla drum exponents of the Ajrada Gharana in Hindustani classical music. The Ajrada Gharana occupies a significant position in the tabla tradition due to its intricate rhythmic structures, unique finger techniques, and emphasis on tonal aesthetics. This study elaborates on the historical development of the Ajrada Gharana, the stylistic and technical aspects of Ustad Manju Khan’s playing, his structured teaching methodology, and the contributions of his major disciples in sustaining and spreading his musical legacy. In the tradition of Indian classical music, gharanas represent not only stylistic variations but also complete pedagogical systems that shape the transmission of musical knowledge. In this context, the Ajrada Gharana is known for its complexity in layakari, distinctive bols, and the balanced use of both hands, especially the refined role of the bayan(left drum) Ustad Manju Khan played a crucial role in preserving and propagating this tradition. His teaching methodology was simple, systematic, and student-oriented. While firmly rooted in the traditional Guru-Shishya Parampara, his approach also reflected a modern outlook by providing equal learning opportunities to all students. His pedagogy emphasized listening (shravan), observation, gradual technical development, clarity of sound production, and consistent practice (riyaz). In addition, he gave importance to stage exposure and practical musical understanding and artistic maturity.