A bandish is a composed song in a raag – the fixed framework around which all the improvisation in Khayal happens. If alaap and taan are like a dance, the bandish is the floor they dance on.
Structure of a bandish
Most khayal bandishes have two main parts:
- Sthayi – the main section, usually centered around the lower and middle octaves.
- Antara – the second section, often reaching into the upper octave and exploring higher notes.
The lyrics may be in Braj, Hindi, Urdu, or other languages. Often, the words are short but powerful, describing devotion, love, seasons, or philosophical ideas.
Types of bandish
By tempo:
- Vilambit – slow tempo; allows deep alaap and bol-baant.
- Madhya – medium tempo; often used for more compact presentations.
- Drut – fast tempo; bright, energetic, and used to conclude.
By form and function, we also have:
- Cheez – a general term for a composition in khayal.
- Tarana – a composition using syllables like “tanana dere na”.
- Chhota Khayal – shorter, faster bandish, often after a vilambit.
Why bandish matters
A good bandish encodes:
- The essential phrases of the raag.
- Its emotional flavor.
- Its interaction with the taal (where important words land on sam, etc.).
Some bandishes are centuries old and passed down through gharanas. Just as jazz standards provide a shared repertoire (Autumn Leaves, All of Me, etc.), bandishes like “Eri Aali Piya Bina” (in Yaman) or “Ajab Tori Karat” (in Marwa) are iconic starting points for improvisation in specific raags.
For students, learning bandishes is essential. They are not “just songs”; they are compressed raag lessons and rhythmic laboratories in disguise.