Bandish

The bandish or musical composition occupies a central place in Indian classical music, acting as a crystallization of rāga, tāla, rasa, and poetic intent. Whether it is in the form of a "Bandish" in Hindustani music or a pallavi in Carnatic music, any musical composition in Hindustani music is called a "Bandish."

North Indian classical music is also called Raga Sangeet as the Raga is the predominant element in the performance. All aspects of the performance are with the intent of elaborating a Raga using various methods such as the free flowing Alaap, the Bandish or the musical composition in three layas and various types of musical compositions. 

With the Development of Khayal, Bandish holds a very prominent place and is considered a invaluable treasure of every Gharana and its artiste. Beyond being a mere song, it is the "distilled spirit" of a raga and the foundation upon which the entire structure of a performance, i.e elaboration of the Raga is built. It is often described as the "attire" or "guise" of the raga, allowing listeners to instantly recognize the raga’s "face" through its specific movements and rules. It is like an equation that gives immediate and direct access to the beauty of a Raga. 

When the bandish is sung with the sweetness of the sound, understanding its meaning, clearly pronouncing the words and absorbing its sentiment, then the bandish appears most beautiful in its complete form. Singing bandish in this manner brings divinity, sweetness and beauty in the singing, due to which the form of the raga also blossoms completely. The poetic verses along with the emotive quality of a raga serves to transform the experience of the abstract emotions and sentiments. 

Bandish, hence are vessels which not only carry the essence of raga but also, aesthetics, vision of the form of the melody, various rasas, languages, themes, reflection of society and its culture, 

The vastness and depth of our raga music is indicated by the availability of various bandishes. Bandishes have immortalized classical music  by serving as the primary means of preserving the pure form of ragas across generations.

The term Bandish is of Persian origin. The literal meaning of the word are listed here -  The act of binding, composition, arrangement of verses, sentences, etc. in a poem, such as the composition of a song or ghazal. In Urdu it means – tie, knot, structure.

The very word 'Bandish' itself makes clear the action of binding or the sense of bonding inherent in it. In music, 'Bandish' is formed when melodic phrases of a raga and the words of poetry are tied in the appropriate rhythm. 

In other words, "a composition which is tied in the shape of a bow from the first point of the rhythm to the last point of the cycle, in which there is no slackness but rather tightness, will be called 'Bandish'."

Thus, the literal meaning of Bandish is a bound musical composition, that is, a song or vocal composition bound in a specific raga and specific taal is popularly called Bandish. 

In general terms, a song or composition that is captivating in its gat, swara and rhythm is called Bandish, which creates a well-organized composition by coordinating various elements of the Khayal style. Bandish is a mirror in which the form and movement of Raga can be clearly seen.

The word "bandish" itself signifies discipline. Music is a unique means of creating emotions and feelings. When we bind this process within the confines of classical tradition.

Pt. Devvrat Choudhary says, "Bandish contains the meaning of a bond, just like social and worldly bondage. It is bound within the boundaries of rhythm and the rules of raga."

Dr. Vijaya Chandorkar, "In ancient Indian music, the composition of verses bound to raga and tala was generally called a song. Today, we call it bandish and, in the context of instrumental music, gat."

V.H. Deshpande, "When composing any poem, if the original idea is retained and its vigor, pleasantness, ease, beautiful arrangement of words, expression of emotions etc. are kept in mind, then it becomes a great poem and when such a poem is composed in the appropriate raga and taal keeping in mind the creation of rasa and the meaning of the words, then that composition becomes singable and listenable."

Dr. Prabha Atre, a senior and distinguished singer of North Indian classical music, has written about Bandish: “From the perspective of Indian music, the word Bandish generally refers to a composition confined within a fixed, structured boundary. In the field of music, a vocal composition confined within the framework of Raga and Tala is called Bandish.”

Indian culture and music owes its origins to the Vedas. Vedic music was primarily intended to worship gods and goddesses. Use of poetic meter lends made the chanting very musical.

The earliest and still prevalent form of a musical composition is the Sama Veda. Which is sung using musical notes. The singing was done in parts called bhaktis totaling seven (1) Prasthan (2) Udgeeth (3) Pratihar (4) Upadgah and (5) Nidhan (6) Hinkar and (7) Omkar. Various elements of composition such as Swar, Pada and its modifications, accentuation, embellishments and rhythm were recorded as notations and practiced. 

In the pre-Bharata era, after the Vedic period's songs like Rig, Panik, and Gatha, ancient texts mention the prevalence of seven songs: Mandra, Aparantak, Ullopthak, Prakari, Ovenak, Rovindak, Uttara, and Vardhamanak. These songs were sung and rhythmic. The sections or segments of these songs were called 'Vastu'

The idea of Musical compositions are well documented in the Natya Shastra- the oldest documented reference on Music and Drama by Bharat Muni. The form called Dhruva Geet was extensively used in all the scenes of dramatic plays during the time of Bharat. Gayan, vaadhan and nrutya all fall within the bharatiya Sangeet. 

Geetam Vaadhyam tatha nrutamtrayam sangeetamuchchyate

Of the three, Geet is the most important aspect of Sangeet. Geet is that which is sung with Swar, Taal, pure vocal articulation, expression and posture. We can also say geet is that which has meaningful words which are bound by swar and taal. Veena and the flute follow the Geet. All the ancient scholars have described about Geet. 

Ranjakah Swar-Sandarbhon GeetamityaBhidheeyate

Gandharva Gaanmityasya Bheda-Dvayamudeeritham

That composition of swar which pleases the mind is called geet. The word geet is made of Gai + Kat which means for singing

Ancient texts describe about two forms of Geet – Gandharva and Gaan. Gandharva comprises of Swar, Taal and Pada and comes under the Margi Sangeet. Like the vedas, this was not created by mankind. 

Dr. Sharatchandra Shridhar Paranjape writes - "The three parts of Gandharva are mentioned as follows - (1) Swar (2) Taal (3) Pad. The place of swar is prominent in Gandharva and the development of other two parts is dependent on this main part. Swar, Shruti, Gram, Murchhana, Sthan, Sadharan, eighteen Jaathi, four varnas, Aavaap, Nishkam, Vikshep, Praveshak etc. are included in the Swar-part. Vowels, consonants, Varna, Sandhi, Chhand, Jaathi etc. are included in the Pada-part. Under Gandharva, there is such word composition which is inspired by swar and taal."

Gaan was created by mankind by expert vaggeyakars in deshi ragas and taals. Hence it is under the Deshi Sangeet category. Gaan was categorized as Nibadh gaan and Anibadh gaan.

From the viewpoint of Taal, gaan had two forms through which raga was sung. Nibadh Gaan and Anibadh Gaan. 

Sangeet Ratnakar mentions Nibadh geet such as Prabandh, Vastu, Roopak composed in Grama raga, Uparaga, prasid ragas. These are compositions which are bound by Swar, Taal, Pada.

The word comes from the combination of Pra + bandh which means Poetic verses or Dhatus which are bound by beautiful angas. There are 4 divisions called Dhatus namely  (1) Udgraha (2) Dhruva (3) Melapak (4) Abhogha and 6 Angas – (1) Swar, (2) Taal, (3) Pada, (4) Paat, (5) Tenak, (6) Virud.

Prabandhas were also categorized into six based on the no of angas used. Prabhandas were classified intor three main groups – Suda, Alikrama, viprakeerna. 

From the period of Prabandha came the four part Dhruva Padas which was popular till the 17th-18th C. While Bhakti saints continued to write poetry and music for devotional purpose, courtly music began to rise in popularity with the Dhrupad form. The structure of Dhrupad is also built on a specific raga and tala. This structure has four parts: Sthayi, Antara, Sanchari and Abhog. Muhammad Shah Rangi was the last emperor of the Mughal dynasty. During his time, Sadarang, Adarang, Manarang were great musicians who composed and popularized Khayal form and their Bandishes. From time onwards, Khayal rose to prominence in North Indian kingdoms and each pricely state hosted musicians who fostered the art form, raga through its Bandishes composed by their able masters. These households were called Gharanas which continued to thrive with royal patronage. Each gharana artiste had many able composers who have left behind a treasure trove of compositions in many ragas. Later period post-independence, newer compositions are being made and popularized by artistes across the country and have gained acceptance from audience and stalwarts. Many old new Ragas which have entered the khayal form are known primarily by their new and appealing bandishes.

In this way, the traditional art of music has been passed down to us in the form of lyrical verses. Musical bandishes evolved from their earliest forms in the Rigveda and Samaveda (devotional texts dedicated to the praise of the gods, devotional songs) to the forms of prabandhas, vastus, and rupakas, which have become popular in Hindustani ragadari music today through various bandish forms like bada khayal, chota khayal, tarana, khayal-like tarana, trivat, chaturanga, ragmala, dhrupada, dhamar, sadra, tapakhyal, sargamgeet, lakshanageet. In sub-classical music, along with raga, words are also important, and these include thumri, tappa, chaiti, jhula, sawan, kajri, hori, dadra, natyasangit, etc.; whereas in sugam music, words are of the utmost importance and there is no need for a regular raga. These include bhavgeet, bhaktigeet, ghazal, etc.

The goal of art is both "swaantah sukhaay" (self-satisfaction) and "jana hitaya" (public welfare), and the concept of music is to relieve the tensions of listeners and bring them joy. Just as a sculptor sculpts a statue, a painter paints a picture, and a writer composes a story, a musician composes a bandish. This can also be said that the element of beauty is abstract, and the artist's sensitive mind perceives it more intensely. To preserve the aesthetic essence, the process of capturing this abstract form within a form begins. . A captivating melody and a melodious tune first emerge in the composer's mind. The inspiration for that melody is a product of their own imagination. That melody, that rhythm, that melody, that composition becomes the face of the composition, and on this basis, the parts of the composition are constructed.

The face of a raga can be instantly recognized through its bandish. The way a bandish is taught is not using notation, but by the voice or playing. Hence the active component of hearing the sound of how each word is sung with a specific musical phrase in relation to the Taal is what truly makes a Bandish as a core essence of Raga Sangeet. All the elements of Uccharan such as Kan, Andolan, Meend, Gamak, Taan and Kaku in the words of the Bandish help bring out the characteristic flavour of the Raga.

A musical composition: Beyond Notation

A Bandish is primarily a musical composition. All musical compositions can be notated to represent the musical notes, rhythm, vocal embellishments. Yet, it has proven to be ineffective in representing fully what is sung or played in Indian Raga Sangeet. Notations are no doubt very useful for musicians to record or transfer information, yet a bandish is best learnt by hearing it from the practitioner of the art form. The fine areas of pronunciation of the words of the bandish, use of vowels in the musical construct, the correct uccharan of the raga phrases using the words, accentuation using the Taal, use of inherent laya of bandish and its performance and the emotive quality of the bandish and raga can only be experienced through learning from a performing artiste of the art form. 

The aesthetic and evocative form of the raga has to be heard and learnt through the sthayi and antara of a bandish, in the nayaki ang. The gayaki ang of a bandish is presented and developed by the artistic sensibilities of the musician after many years of learning, practice and contemplation of the finer aspects of the Bandish in a particular raga. 

While many artisites have a large repository of bandishes in a given raga, only a chosen few are presented after careful understanding of the bandish, its meaning, its context, its ability to evoke the raga and rasa, its ability to provide scope for the elaboration in the gayaki ang as per the artiste’s creativity and tradition followed.

Foundation for Expression & Expansion: It is the "distilled spirit" of the raga, serving as the base upon which the performer builds a massive melodic structure.

A bandish expresses the artist's emotions. It's only through a bandish that it's possible to express and sing a multitude of words in one piece. The singer tries to portray the abstract beauty of a Raga through a bandish, because the detailed exploration of the perceived aesthetic element is achieved only through bandish. Bandish preserves the aesthetic element. Bandish gives a definite form to the inner essence of the raga, meaning its shape becomes clearly visible. Bandish also provides information about the various ways in which the raga can be played. Thus, bandish is the unique form of the raga.

Shri Bhaskar Chandavarkar has said – "In Indian music 'Bandish' is at once the essence, the distilled spirit of the Raga and foundation on which the huge structure of the Raga can be erected. It is like an equation that gives immediate and direct access to the beauty of a Raga.”

Pt. Laxman Krishnarao Pandit, states, "Bandish is the guise of a raga. Regarding the importance of bandish, the ragas themselves are hidden within the bandishes. The more bandishes you learn in a raga, the more different ways you will learn to present it, and the more knowledge you will gain about its main components, places, and elements."

Dr. Sushil Kumar Choubey says, "The true essence of a singer's singing lies in their bandish. The sthayi antara of the bandish is the hallmark of khayal singing. Properly enunciating the outline of the bandish has a profound impact on our listeners. If the sthayi antara of the bandish is delivered with grace and artistry, our two-part khayal singing will not only be successful and impressive, but also captivating. It is through the bandish that singers embellish their khayal with artistic ornaments. Only then does the raga come alive and the singing breathe life."

According to Prof. Ramanlal Mehta, "Singing a bandish is considered a very important activity. It is a good way to discover the beauty of new forms or to show the many forms or aspects of a raga."

When the singer repeatedly uses them through bandishes, an effective and powerful expression of the raga becomes possible. For example, when we remember a person, their face first appears in our mind. Similarly, in raga singing, the face of the raga can be instantly recognized through bandishes

According to Dr. Shri Ranga Sangoram, "Our Hindustani vocal music is based on two concepts: gaan elaboration or upaj and bandish singing or prabandh. According to them, the bandish is the fixed or static component of singing, and the upaj is its movable component. Classical music is characterized by its expansion and arrangement, the basis of which is upaj. The test for a classical artist is this upaj. Upaj is constantly innovating, with no end in sight, but it's important to note that upaj is based on the bandish. Therefore, without bandish, there's no scope for upaj. On the converse a good bandish is one which enables the artiste to elaborate the raga using the various angas of khayal.

Preservation of Tradition: In the absence of early printing or notation, bandishes served as oral archives, preserving the pure forms of ragas across generations.

Jaidev Singh says, "Tradition is a treasure that has been passed on from one generation to the next. It includes all the thoughts, ideals, habits, methods, principles and discipline that are passed on from one generation to the next." Traditional bandishes have played an important role in preserving the classical form of ragas.

Dr. Prabha Atre, a senior Khayal singer from North India, says of the Bandish: "The Bandish is a vitally important component of Hindustani classical music. In ancient times, in the absence of a well-developed notation and accurate printing system, the Bandish gained extraordinary importance because it was only by grasping the Bandish that artists could discover the nature of a raga or a musical genre. Due to the continuation of the tradition of oral education, these Bandishes not only survived but also immortalized classical music. This contribution of the Bandish to Indian music is extremely important and invaluable."

We often hear from connoisseurs of music that to understand the pure form of a raga, one should learn and understand as many traditional tassel bandishes of that raga from the mouth of a guru. Tassel bandishes refer to those bandishes that have been sung by many learned artists over the course of the bandish period and that they have acknowledged that the classical form of the raga is well reflected in them.

Through bandishes, we gain knowledge of the pure form of ragas. Bandishes have been composed by talented artists from various gharanas of Indian classical music. These bandishes naturally combined the raga form inherited from their tradition, their personal imagination and the specialities of that particular gharana.

Even in the medieval period, singers and artists memorized the raga's tune based on the words of the bandish, and these memorized melody notes were used. Sargam was not taught.

The opinion of the late Mushtaq Hussain Khan regarding the bandish is as follows: "Just memorize the bandish of any raga correctly and start progressing the raga according to the movement of the notes of that bandish. That is, by moving around the bandish, the structure of the raga will automatically become clear. The main reason for this is the bandish only.

Educational Tool: Gurus teach disciples multiple bandishes in one raga to help them understand its various facets and "face".

If a raga is to be presented in a multifaceted manner, the artist should have a collection of numerous bandishes, as these can greatly utilize specific and prominent raga-specific harmonies in the raga presentation.

In this regard, P.N. Chinchore's opinion is as follows: "No matter what style of singing one uses, after preparing the voice, unless various types of bandishes are taught in a single raga, it becomes difficult to understand and sing the raga's every aspect. Such bandishes are considered among the best ragas, enriching the singing of the raga and creating variety. Memorizing bandishes is considered a sign of a singer's excellence.

In ancient times, singers used to say, "What's the need for raga rules? Just look at the bandish and improve." Therefore, earlier gurus or ustas (masters) preserved their bandishes like treasures, because the secret to any kind of expansion lay within their bandishes.

According to Pandit K.N. Ratanjankar, the one who has the largest store of things, i.e., types of bandish, bandish, or prabandh, can be the most skilled singer in detail. It is no surprise that the one who possesses this store has more experience and imagination than other singers. Such people enhance the raga by understanding the nature of the raga, the singing style of the thing, and the emotions expressed in it. By possessing these things, even an illiterate singer who does not know a single word of the scriptures can perform the raga shringar in its pure form. The more diverse types of songs in a raga are memorized, the greater the command over the raga they gain.

Indicator of Context: Lyrical content often reveals ideas around Raga-samay, Ashta-naiyka bhav, socio-cultural theme, its function.

The Lyrics of the Bandish often showcase the harmony of sentiment of the words and the nature of Raga and the Swars used, the Rasa, time of its performance.

Theme 

Bandishes have always had a central theme around devotion or materialistic life. Vedas, puranas, upanishad and later Bhakti literature have had a major impact on the compositions sung in the classical genre. popular themes are Leelas of Radha & Krishna, eulogy of gods and goddesses in form of stutis. The idea of Ashta Nayika was very popular in compositional forms where the composer or musician assumed the role of the nayika pouring out her feelings to the nayak. Later musicians have composed on a host of themes like festivals, seasons, and celebrations, eulogy of kings and other personalities, guru-shishya relationship, raga lakhshanas, on varied music topics, and of societal conditions and familial problems. 

The themes in the phrases 'Shubh Din Mangal Aaj', 'Aaj Sakhi Anand Bhayo Ri', 'Dhan Dhan Mangal Gaavo', 'Dhan Dhan Bhag Jage', 'Aaj Badhava Gaavo', 'Aavo Rizhavo, Mangal Gaavo' express joy on festive occasions, gathering together to sing, and celebrating auspicious days. There are also songs about the festivals of the months like Phagun, Holi. 

Name of the Raga 

The idea of Raga-Ragini or male and female ragas is a very popular concept in understanding and interpreting ragas. Many bandishes are also composed according to the name of the raga, such as the praise of Goddess Saraswati in Raga Saraswati, the praise of Lord Shiva in Raga Shankara or Bhairav, and goddess Durga in raga Durga. 

The six seasons are associated with six Ragas and its origins are ancient. Bandishes use words and themes which are specific to the season and the associated Raga and along with the musical composition create a audio and mental imagery of the scene. Ragas such as Malhar, Bahar, Basant, Sawani refer to the seasons and its compositions give the mental imagery of the conditions of these seasons.

Rainy Season – words like Garaj, Ghan, Badariya, Baras, Kari Ghata etc depict the dark clouds, the roar of the thunder, the gushing rains.

Spring Season – Spring season is associated with the blossoming of flowers and the hovering of bees and the riot of colorful flowers.

In seasonal ragas, such as Raga Basant, if the literary text conveys the arrival of spring with the words "Ritu Basant Man Bhaay Sakhi...," the raga blossoms even more. Similarly, if the composition of a raga's composition helps describe the season and the time of its singing, the composition will appear more appealing.

Raga Prakruthi

Ragas are considered Gambhir or Chanchal and also have gender assigned which gives an idea of the nature of the Raga. The literature of the Bandish reflects this personality.  For example, for raga Bhairava, words like 'Bina Hari Kaun Khabar Mori Let' conveys its serious nature, whereas words like 'Gagri Mori Bharan Nahin Det' make the playful nature of raga Adana more clear. The greater use of Kan, Khatka, Murki etc. in ragas of playful and playful nature and the use of Meend, Gamak etc. in ragas of serious nature establishes the dignified image of the raga. Compositions composed with due regard to the nature of the raga create a distinct rasa-spiritual experience, such as the heroic compositions in 'Shankara', descriptions of nature, and joyful compositions in 'Bahar Ya Basant Mein', and the karuna rasa in 'Todi'.

Rasa anubhuti

The rasa or emotion derived from each raga and the words of the bandish help in solidifying the experience of the Raga. For example, in the morning ragas Bhairavi, Bhairava, Bairagi, Gunashree, is used for banishes to evoke rasas like Shanta, Bhakti, or Vatsalya.

In ragas like Raga Yaman (a night raga, some of which are evening ragas, such as the first prahar), Purvi, Pooriya, Kalyan, Madhuvanti (evening ragas), etc., the focus should be on themes related to emotions like love, separation, compassion.

Sandiprakash ragas tend to have an element of devotion and hence we find many bandishes on similar themes evoking bhakti. 

Bandish of a raga gives rise to a specific rasa. Raga itself is a form of bliss but the presence of a particular rasa in that bliss is proved by the bandish, that is why we get to hear bandishes of different rasas in a single raga, like in the Khayal singing style, the compositions or bandishes of a lyricist with a religious nature are mostly based on gods and goddesses. In some, the glory of Lord Ganesha is praised, in some, the glory of Lord Shankar or Mother Durga is praised. Due to which Bhakti rasa or Shanta rasa is achieved. But in those same ragas, sometimes we also get a bandish dominated by Shringar rasa, in which the love affairs of Radha-Krishna are described.

Raga Samay - Time for performance

Each Raga is assigned a specific prahar in the day for performance. For example, words like "Ab Hone Lage Parbhaat Sakhi," which depict the scene of the morning, are appropriately used in morning ragas. Similarly, the use of words like "Sanjh Bhai" in the composition of Raga Shree, an evening raga, helps enhance its effectiveness.

Even an abstract raga becomes tangible through its presentation through the melodious confluence of raga, tala, and pada. swara, taal, and pada play a crucial role in a bandish. While each has its own independent existence, they contribute jointly to the creation of the bandish, enhancing each other's aesthetic qualities. The incorporation of taal into the swara and pada provides a complete view of the beauty of the bandish. Bandish conveys a sense of tightness and finesse. If bandish is nectar, then taal is its pot. When a raga is expressed through a composition, it gives it expression. Taal invigorates the bandish, dispelling boredom. The listener, immersed in the form of the rhythm's specific time periods, experiences indescribable joy.

Pada - Literature

The literature of the Bandish is known as Pada, Cheez. The Literature along with the Raga, Tala and Laya together create a well-knit experience of the Raga for the listener. Hence the literal and spiritual meaning of the composition, the usage of suitable words, theme of the pada serves the purpose of heightening the experience of the Raga in a given Tala and laya. Ancient compositions were mainly devotional in nature suitable for temple singing. 

The poetry of a bandish is an expression of the composer. However, if words are paired with the notes of a raga, the specific emotion becomes easily apparent. Meaning, words, or padas, are a powerful and helpful medium for creating rasa. This can be understood in this way: even if a listener doesn't understand a raga, they can still understand and enjoy the emotion expressed in that raga through the words used in its bandish. Even the average listener is able to understand the meaning and enjoy the composition.

From the perspective of the artiste, the entire creative process from starting to end, is centered around internalizing the meaning of the bandish, its melodic construction and use of the Raga so that all creative angas of Khayal sangeet are in sync with the meaning of the bandish to be expressed using the Raga.

Dhrupad singing was seen as a means of devotion and attaining God and as an 'art of self-satisfaction'. The language of poetry in Dhrupad also describes God.

From regional folk songs and languages, the folk music of that region was created and songs, poetic forms, melodies were composed and sung and played according to every occasion that came in human life in society. It reflected the regional and language-wise social life through occasions such as weddings, sowing, harvesting, harvest, many seasonal songs, and festival songs. With the advent of Khayal, compositions combined the devotional and secular themes of regional music which found wider acceptability in court music and public audience.

The compositions of Khayal are primarily dominated by the sentiment of Shringar Rasa.

With the advent of Khayal Sangeet, the Musical compositions started to have two Dhatus or Avayavs or stanzas called Asthayi and Antara. The earlier form of Dhrupad had four parts – Sthayi,  Antara, Sanchari, Abhog.

Sthaya means melodic phrase. It is derived from the Sanskrit work Shta which means to establish or stay. Sthayi is an integral part of a Raga presentation and it is a special phrase or avayavs which contains the essential components and characteristic movements of a particular raga. It is because of the sthayi that a raga can be recognized. The sthayi is also appealing because of integration with Varna, Alankar, Gamakas and adds life to the Raga. The Portion of lyrics before the Sam is known as Mukhda or the face of the composition which carries the role of introducing the Raga and its essense.

The second and other parts of the composition is called the antara. The antara is sung mainly in the Madhya saptak and taar saptak.

Raga - Melodic Framework

Usually, a Bandish is composed in a Raga or a Jod-Raga or as a Raga Mala of many Ragas. Right from ancient days various elements that make a Raga must be visible in the musical composition such as the Raga-anga Grah Swar, Ansh, Vadi-Samvadi-vivadi, Nyas, Apanyas, Vinyas, Sanyas, Mandra-Taar, Alpatva-Bahutva, Varna, Alankaar. A bandish typically explores a particular facet or Anga of a raga in the Sthayi and Characteristic phrases of the Raga are used to avoid any confusion in case of Chayalag, Sankeerna, Mishra or Jod-Ragas. Various uccharana kriyas such as Kan, Meend, Gamak, Andolan, Taan, are used to bring out the unique flavour of the raga. 

The concept of Raag-anga is the corner stone of Hindustani Raga Sangeet. It is through the raga anga, that a raga is erected and elaborated. Bandishes work to bring out the clear facet of the Raga anga in its opening lines of the Sthayi, leaving no room for doubt in the Raga being presented. The key ideas of starting note of a raga, raga-vachak phrases, nyas swar or notes of pause inbetween a line and the ending note of a line are embedded in the bandish.

A bandish is tries to explore a particular facet of a raga anga. Every Raga and its structure can be crudely divided into poorva-anga and Uttara-anga. Some ragas are elaborated in all three saptaks, some in mandra and Madhya saptak, some in Madhya and taar saptak. 

Keeping in mind the nature of raga, its raga-anga, the prakruthi, time of its performance, the rasa it evokes, the literature of the Bandish only serves to heighten the experience of the artiste and listener,

Taal - Meter, Rhythm & Tempo

Rhythm in literature is known as Chhand. Bandishes are composed in various Taals, based on the length of each word, its short and long vowels, length of the verses and its inherent rhythm.

Rhythm (Tala) is also an essential element of a bandish composition. The rhythmic scheme must be in keeping with both the nature of the raga and the flow of the notes. In Indian music, raga and taal are compositions bound by specific rules and are given greater importance for presentation. In khayal singing, rhythm creates flow. The components of the rhythm's matras create the metrical structure of the composition. The harmony of rhythm and tempo with the words of the poem enhances the beauty of the bandish

Since Hindustani Raga sangeet focuses on gradual elaboration of the Raga starting with the Vilambit Laya to the Drut Laya, different talas are used for the Bada khayal, Chota Khayal and Tarana. Each gharana has a certain preference for the Taal and the tempo or Laya of the Taal for each segment of the performance. Talas such as roopak, Jhap Taal, Ektaal, Jhumra, Teen Taal, Tilwada are used for the Bada Khayal. Taals such as Ek Taal, Teen Taal, Jhap Taal, Ada Chautaal are used for Chota Khayal and Tarana. 

The key feature of any Bandish is the construction of Mukhda and the aesthetic placement of Sam. The elaboration of the Raga happens over many avartans of the Taal and each time, the Mukhda is skillfully sung by the artiste to arrive at the Sam. The minds of listeners and performers are moved only upon the arrival of ‘Sam’.

Rhythm and laya play a crucial role in the expression of rasas in a bandish. Vilambit laya, Madhya laya, and Drut laya, among other elements, have specific syllables that can convey seriousness or playfulness in a bandish. Rhythm and laya play a crucial role in the expression of rasas in a bandish. Different rhythms and talas create different rasas in a bandish. 

Different rhythms play an important role in determining rasa. Vilambit rhythm is used for a calm state or rasa, while drut rhythm is used for an agitated state. Vilambit rhythm expresses the rasas of Shanta, Bhakti, Karuna, and Shringar. Drut rhythm expresses Veer, Adbhut, Raudra, and Bhakti. In the Khayal singing tradition, we can generally say that Vilambit  Shanta Rasa is created in rhythm, Shringar Rasa in middle rhythm, Veer Rasa is created by rhythms like Aada Chautaal etc.

Bandish also makes special use of literary meter. Meters provide rhythm and speed to the bandish, tying it into specific measures, which lends beauty to the entire raga. In addition to maintaining the various swaravalis used in the raga, the rhythm and beat used in bandish are also related to the creation of rasa.

When the rhythm of the composition, the nature of the composition, and the nature of the raga are in harmony, a rasa is produced in a particular rhythm. Expression of rasa is possible when the rhythm is in accordance with the words of the raga.

Different compositions use the Taal and Chhand in innovative ways to make the bandish very attractive for performance.

• Compositions starting with from different beats of a given Taal.

• Composition following the chhand of the Taal or with accentuation on different beat of the Taal cycle.

• Taals of same matra but differing in Theka.

• Choice of Laya based on Raga nature.

• Complex chhandas within the lines of the bandishes to create intricate rhythms in adi-laya.

In conclusion, while rhythm is a measure of time, it also creates variety in the bandish through its unique rhythms and movements, making it captivating. It is through rhythm that the bandish attains discipline. Rhythm and tempo are the primary and integral elements of the bandish. Rhythm provides the bandish with a well-defined horizon.

Aesthetics in Bandish

Aesthetics in a Bandish can be attributed to the synergy of the literature, the proper use of raga phrases, Taal and Laya. The main ideas of aesthetic beauty arise from 

1. Proportion and balance 

2. Symmetry

3. Harmony of ideas

4. Variety

5. Intricacy

6. Emotion or Rasa

The Bandish even in the Nayaki ang has the ability to evoke aesthetic appreciation from connoisseurs of music.

1. The Mukhda, its length and musical construction to arrive at Sam

2. Graha Swar - Starting notes of Sthayi and Anatara

3. Placement of Sam - The Nyas Swar and proper Syllable of a word.

4. Use of Alankaars and Gamakas like Kan, Meend, Andolan, Khatka, murki in the words and phrases of Raga

5. Use of Raga Vachak phrases.

6. Use of Varna - Depending on the placement of Sam in the lower or higher octave, the melodic lines in the Stahyi and Antara must cover the dominant movement of the raga in both ascent and descent in a logical manner so as to reach the Swar in Sam after singing the mukhda.

7. Tension in the avarthan - the tightenss of the words of bandish and the musical composition till reaching Sam.

8. Use of short Taans in beginning or ending of a verse.  

9. Use of Chhand of Taal and Lyric to create simple, complex cross rhythms.

10. Use of Shadaj Pancham, Shadaj Madhyam Bhaav through proper use of Vadi and Samvadi notes in the melodic construction

The term gharana is very important and unique topic in the field of music – both vocal and instrumental. It is a term used to describe an important style of music. It was through the system of Gharanas that Raga Sangeet flourished independently. Each Gharana holds a huge repository of traditional Bandishes handed down from Guru to shishya from Early dhrupad masters. Many Artisites were also great composers and have left a treasure trove of bandishes in many ragas. Bandishes held such high prominence that it was not not shared to any one outside the family. When marriages would happen between Families of different Gharanas, Bandishes were often traded as dowry, signifying their value.

Each gharana has its own characteristics, a specific discipline, a method, and this discipline is meticulously followed, from the very beginning of the introduction to the singing of a small khayal. From the very beginning of the presentation of a bandish, each singing style has been distinct. The discipline of their own gharana was so deeply ingrained in them that even if they learned a bandish or raga from another gharana, they would invent it according to their own gharana. The bandish holds a central place in every gharana. The bandishes of different gharanas show us different forms of the raga. Each gharana has its own unique style of performing the raga, which is evident in the bandishes of that gharana. Although the bandishes sung by each gharana do share some similarities, such as being beautiful, melodious, and rhythmic, each gharana's style of singing the bandish has its own unique characteristics.

Therefore, bandishes have been the carriers of not only the raga form but also the specialities of the singing style of the gharanas. Prof. of Agra Gharana Yashpal says, "Bandish is a heroine; when it enters different gharanas, it is adorned according to the rules of each gharana, and its form becomes distinct."

the artist's presentation of Bandish singing depends on his voice, the way of setting the notes, the way of pronouncing the words, the difference in weight on the words and notes, as well as the inclusion of emotion according to the Bandish.

Each gharana has its own distinct composers and artists who, through their individual imaginative creativity, create bandishes by coordinating swara, sabda, and taal. Therefore, the bandishes created by different composers appear to be bound by a specific tradition.

The Gwalior Gharana is considered one of the oldest and a fountain head for other gharanas. A variety of Bandishes are found in a single raga. Bandishes are often long and found to have complex rhythm structures where accentuation falls on a beat different than that of the Taal. From the perspective of Literature, use of Swar, Taal, Laya, each raga boasts of a huge variety of bandishes.

The Agra Gharana also holds a high position among the gharanas of the Khayal style. The singing styles of the Gwalior and Agra Gharanas share significant similarities, as both gharanas recognized the theoretical foundation of the Dhrupad style. This gharana has the largest group of fine musicians cum composers and a wealth of bandishes.

Many composers have composed beautiful compositions of various bandishes in various ragas, while in a single raga, several bandishes of different styles can often be found. However, it is not necessary that every bandish encompasses the entire characteristics of that raga. A bandish is composed to highlight specific areas of the raga, focusing on them. The purpose of a particular bandish is to draw attention to specific aspects of the atmosphere created by the raga. If the singer approaches the bandish with these aspects in mind, the uniformity of the atmosphere will become unbroken and intense through his presentation. Such a presentation is called singing from the sthayi anga, and in the Agra Gharana, the raga is sung according to this principle.

The Kirana Gharana is a prestigious Khayal singing school. The founder of this school was the renowned Veenakar Bande Ali Khan Sahib. The Kirana Gharana was primarily composed of Sarangi players. Later, singing was adopted into this school. Abdul Karim Khan and Wahid Khan promoted singing within this school, and are considered its founders. In the Kirana Gharana, the bandish and raga are elaborated with utmost calmness and restraint. Each note is doubled in length compared to the rhythm of the taal. 

The Khayal singing style popular today, known as the Jaipur Gharana, was pioneered by Alladiya Khan Sahib, son of Khwaja Ahmed Khan of the Atrauli Gharana, who was originally a resident of Jaipur. The primary characteristic of this gharana is an open, clear, and natural voice, and this gharana pays special attention to mastering the deep breath. Some bandishes of the Jaipur gharana are composed on this principle of unbrokenness and cannot be sung without this deep breath. If the breath breaks midway while singing a bandish, it will not do justice to the bandish, and its beauty will be destroyed. In this gharana's singing, the presentation of the bandish, or sthayi-antara, is extremely tight. Each matra of the taal is carefully considered during the bandish's presentation, and only when the bandish is systematically placed on the sama, is the bandish truly attained its rigor. In the Jaipur Gharana, all four categories of ragas are sung: Siddha Raga, Jod Raga, Mishra Raga and Anavat Raga. Hence many less popular ragas and bandishes can only found in this gaharana. The bandishis of the Jaipur Gharana are related to the Dhrupada singing. Like the Dhrupada, these bandishis were sung by considering the fractional parts of the taal meter. Similarly, most of the bandhis of the Jaipur gharana require good breath (long breathing) to sing effectively. Some words in the bandhis have long vowels. If these vowels are sung while taking a breath, the words will not be understood. Khan Saheb composed some bandishis based on Dhrupada-Dhamara. . Alladiya Khansaheb lived in Rajasthan during his childhood. Haveli music was popular in the temples there. The influence of this Haveli music is visible on his bandishes

The Delhi Gharana of Khayal singing is the oldest. Khayal singing originated in the court of Delhi's Emperor Muhammad Shah (1819 AD). It was in his court that the Sadarang and Adarang emerged, composing and creating Khayal compositions. The last emperor of Delhi, Emperor Bahadur Shah Zafar (1837 AD), was a patron of Khayal singing and a composer of Khayal songs. His guru, Mian Achpal, is considered the founder of the Delhi Gharana.

Because this gharana was associated with sarangi playing, the use of sut, meed, gamak, and lahak is particularly evident in its slow rhythm bandishes. The intertwining and manipulation of the notes in the madhyalay has been a hallmark of this gharana. Great attention is paid to rasa and bhaav in the bandishes of this gharana. While the bandishes are literary yet heart-touching, they are also designed to be complete.

While Gharanas are identifyied by the style of presentation and use of voice, a key factor in presenting the bandish is the use of the Taal, especially in the Vilambit Laya. Gwalior gharana uses Madhya Vilambit laya and the choice of taal is jhumra, tilwada or ektaal. Whereas Kirana gharana would present the same bandish in Ati-vilambit ektaal. Jaipur Gharana also doesn’t use ati-vilambit and uses Teel Taal, Jhap Taal, Roopak in Madhya Vilambit for bandishes.

While the raga and bandish are the same in different gharanas, they differ significantly. The treatment of the raga, the placement of the voice, the use of the bhaaga (elongation), vistar (brightness), gamak (wider), meed (mead), taan (templation), the embellishments of sargam (saragam), the use of the mukhda (mukhda), the sama (same) and the aamad (rhythm), and the laya (lay) are natural factors that contribute to the bandish's variation. The relationship between the bandish and the gharana is truly profound

Hindustani music is a living art form, and tradition plays a significant role in it. It's also true that we can't imagine Hindustani music without considering its musical traditions. Tradition holds a significant place and a special value within Hindustani music. The literal meaning of tradition can be considered to be the preservation of a culture in its original form from generation to generation. Whatever is learned from the Guru by the Shishya in the form of Bandish is taught in the similar way to the students of the Shishya without any change in the melodic and lyrical content along with the uccharan or the how the words are pronounced and sung using the alankaars like Kan, Andolan, Meend, Gamak, etc. While presentation might vary from time to time and one generation to the next, the Bandish is trated with great sanctity.

The compositions popularized by various gharanas are called traditional bandishes. The essence of singing and playing lies in the systematic presentation of these bandishes. This is why the availability of bandishes, and the process of learning and assimilation, has been continuously passed down from generation to generation. We learn the entire history of the development of khayal through traditional bandishes, and the rules, regulations, and characteristics of each gharana are revealed through these bandishes. These bandishes are so important that the early gurus would teach their disciples a large number of bandishes, which resulted in each artist presenting the same raga in their own unique way. Having learned a variety of bandishes, this helped develop their creative talent.

There is a significant interrelationship between tradition and innovation. From a microscopic perspective, the two complement each other. Indian classical music has been flowing continuously like a river. Its fundamental qualities, characteristics, rules, and discipline have been deeply ingrained in its soul since tradition. However, this originality has also undergone stylistic, formative, and emotional changes based on imagination and scholarship. It is noteworthy that the changes or innovations of that time have become the traditions of today.

If we consider the singing style, until two or three centuries ago, Khayal enjoyed less respect than Dhrupad in classical music. Or rather, it did not achieve full classical status. This is why Sadarang himself sang Dhrupad, but he taught Khayal compositions to some of his disciples. At that time, Dhrupad was a popular tradition. It was not considered respectable for the 'artists' to sing Khayal. Their contemporary Khayals were considered novelties or they were symbols of change and perhaps even looked down upon by artists. That same innovation has become a symbol of today's tradition. Khayal bandishes that mention Sadarang automatically become pure, classical, and worthy of respect. In this context, Pt. Vidyadhar Vyas says, "What we have today as the Khayal style must have been the 'fusion music' of that time." 

We can also understand the above fact in the context of traditional and new bandishes: the works we honor today by citing them as traditional bandishes must have been new at some point. Their creators must have used the form of traditional bandishes and their personal imagination to create new works that, over time, became examples of traditional bandishes. Even today, a learned artist creating new bandishes will also be considered traditional bandishes in the cycle of time.

A question naturally arises: what is the need for new bandishes, given the vast treasure of traditional bandishes? The answer seems to be that humanity has always been drawn to innovation. New experiments are fascinating, and within them lies a whole world of possibilities. If humanity had always considered innovation in music in this way, perhaps we would never have progressed beyond the singing of a single note or a group of select ragas. This delightful and beautiful journey from Samagaan to Geeti, Jati, Prabandh, Dhrupad, Dhamar, Khayal, and so on, was made possible only by humanity's imagination and love for innovation.

According to Pt Shaunak Abhisheki ji – “After learning many traditional bandishes in one raga, That is, after understanding the sanskar of many bandishes, an artist creates a new bandish only when he finds a new idea or a facet of the raga.

According to the musician Shri Chaitanya Kunthe ji - "Sometimes the singer has to change his singing style. If he doesn't find a bandish according to his instructions, he creates a new one.

According to Dr. Prabha Atre says, "I feel that It is essential to have a style and a Bandish that suits ones nature. To sing by modifying someone else's composition as per ones comfort is not appropriate."

In conclusion, we can say that traditional bandishes are a powerful means of preserving and maintaining the original form of our classical music. Such bandishes express both the raga form and the uniqueness of the gharanas. Innovation is an essential part of art. Without innovation, music would become as stagnant as stagnant water in a pond. From this perspective, new bandishes have always found their place in our classical music. Indeed, those new bandishes that used imagination while taking inspiration and example from traditional bandishes have survived over time and, over time, have acquired the form of traditional bandishes.

Many traditional bandishes meet the criteria of being a vocal composition, but sometimes, due to various reasons like incomprehensible language, the use of corrupted language, and obscene words, some words make the bandish seem meaningless. Hence even traditional bandishes undergo some tweaks to remove such literary defects. This will make the meaning of the bandishes understandable to both the singer and the listener, and facilitate easy communication between them.

With the inflow of new Ragas and adoption of ragas from the Carnatic, New Bandishes are the only way to explore and present the Ragas. Some new ragas have become more popular due to their bandishes. A large collection of bandishes helps popularize a raga. The Raga jog kauns is very popular due to Pt Jaggannath buwa who not only created the raga but also composed Bada and Chota khayal which are sung by many artistes today.

Modern bandishes appear stronger from the perspective of language, words, and literature. Because today's writers are educated, their range of thinking and understanding is broader. The correct use of language and words can be seen in modern bandishes. From a literary perspective, bandishes are also stronger. Today, we hear and see bandishes on a variety of topics, such as devotion to God, devotion to the guru, patriotism, the Mahabharata, the Ramayana, music, sound, love affairs, and many more, which we readily hear today.

Thus, the true state of modern bandishes can be gauged by considering the differences in vowels, word variations, and pronunciation from ancient times to the present. But even today, despite numerous changes, a developed and transformed form of the raga exists that remains unbroken from the ancient, scripturally approved tradition. Despite the numerous changes in bandishes from ancient times to modern times, the ancient bandishes retain their own unique significance, and so do the modern bandishes.

The language of poetry should be such that it is understandable to the common listener and if it is not accessible then it will cease to be poetry and will become prose, hence if the language is full of rhythm and meter then the attraction of bandish remains.

The language of the Dhrupad compositions is mostly found in Braj, Sanskrit, Hindi, Awadhi, Rajasthani, etc., and these compositions still carry devotional messages. In ancient times, Dhrupad compositions were mostly composed in Sanskrit

The language of Khayal's compositions is mostly North Indian languages and Braj, Hindi, Rajasthani, Punjabi, Bhojpuri etc. Some compositions have also been found in Urdu. Although Khayal has been composed in Sanskrit too, but their number is very less.

All the great artists, musicians and scholars have given the first place to Braj Bhasha for their compositions, considering the uniqueness of the words of Braj Bhasha. Any kind of harsh, harsh or difficult language is not suitable for Bandish. Bandish can be composed better only in a language which is naturally soft, elastic and flexible. Due to the speciality of pronunciation of words of Braj Bhasha, nasality and vowel dominance etc., in the medieval period Braj Bhasha not only became a language but also the language of music and its area became so wide as if this language was born for music only.

Literature from Braj and Awadhi languages is widely used in Khayal compositions because these languages are lively and simple, not unlike spoken language. because the poetry of Braj and Awadhi languages is melodious, both languages are excellent for music. Therefore, the arousal of the above sentiments is clearly visible in classical music as well. 

Awadhi and Braj languages have been the languages of medieval literature, and writers not only from North India but also from the East, West, and South have taken pride in creating regional languages. According to Ashwini Bhide, "The Brij Bhasha used by the ancient composers to write bandish is the one that I find sweet. All the parallel words found in Brij Bhasha for the same subject matter are sweet and lyrical."

The widespread influence of Braj-Awadhi culture is reflected in the hymns of Radha-Krishna and the birth of Lord Rama, composed in folk styles or compositions, the musical Raas dance, musical instruments, etc.

Meh, Meha (Megha) for example this bandish of 'Ramdasi Malhar' 'Chamake Bijuri Meha Barse' etc. To develop this special quality of the words used in the bandishes on a wider scale, the medieval poets have used the letter 'Va' in the vocabulary of the bandishes from the eastern Hindi language of Lucknow and Bihar state and have used it abundantly in the bandishes. 

Due to this, the words of the bandish have acquired a sweet emotional and melodious form. For example, some of the bandishes are 'Kanganwa Mora At Hi Anmol' (Kedar), 'Ramashraay Jha Ji's' bandish 'Manharwa Aayo Ri' (Pooriya Kalyan), Badarwa Barsan Ko Aaye (Sur Malhar) etc. There are many other words like Langarwa, Piarkha, Garwa, Balamuwa etc. which, through their word form, enhance the sound beauty of the bandishes. Also rhyming words with related meaning is found in braj which are useful in poetic embellishments in lines of the bandish.

To give aesthetic form to the musical sound of words, the letter 'l' is also used extensively in the language of bandishes. The 'l' letter itself is a very soft, melodious letter, melting in the mouth. Therefore, in linguistics, it is called 'liquid consonant'. The use of the 'l' vowel is a speciality of Bihari Hindi (Bhojpuri). The 'l' vowel appears in Bhojpuri in musical bandishes, and in this dialect, the 'l' vowel is used in verb suffixes, for example, 'Aaj more ghar aaila balama'. The dialect's practical composition process is more flexible and easier to pronounce than the standard language, making it useful from a musical perspective. This is why, even in the 21st century, the language of bandishes remains spoken Hindi.

Both Dhrupad and Khayal give more importance to creative freedom during the Raga performance and hence the words, its vowels play a very important role in how they can be used for improvisations using swar, Taal and Laya. Words of Braj and Awadhi excel in their use of vowels which are critical for musical expression. It is the abundance of vowels in these words which help in placing swar sangathis, use of Gamakas, meend, Andolan, and carrying out rhythm based improvisations like Bol-bant, Bol-taan etc.

With the rise in popularity of Khayal, much more lyrical freedom was exercised by performers in using various vocal embellishments apart from those used in Dhrupad such as  Bol alaap, Behalava, Bol Taan etc. All of these improvizations are done without it affecting the pronunciation or meaning of the word.

In the case of the Tarana, Khayal Numa, words such as Ta, Da, Na, Tom, Deem, Ra are used which have no meaning in the traditional languages. Yet a unique grammer emerges in their arrangement. Ustad Amir khan had researched on this topic and identified similarities of bols used in Tarana to Persian words. Over time, Bols of  instruments such as Pakhawaj, Mridang, Tabla, sitar came to be used. Along with its unique aesthetic grammer, availability of rhyming words and words of different length help create intricate cross rhythms. 

Among the most enduring aesthetic frameworks informing Indian compositions is the concept of the Aṣṭanāyikā—the eight archetypal heroines first systematized in Bharata’s Nāṭyaśāstra. This article examines the Aṣṭanāyikā as a thematic and psychological foundation for bandish creation, exploring its role in the evocation of rasa, its relationship with rāga choice, its spiritual reinterpretation in Bhakti–Sufi traditions, and its sustained presence across compositional forms of Indian music.

Introduction: Bandish as Aesthetic and Emotional Blueprint

In Hindustani classical music, the bandish is far more than a melodic framework. It is a poetic, emotional, and philosophical nucleus around which improvisation unfolds. Traditionally composed in Braj, Awadhi, Persianized Hindi, or regional dialects, bandishes encode nuanced emotional states that performers gradually reveal through ālāp, vistār, and bol-vistār.

One of the most powerful lenses through which these emotional states are articulated is the concept of the nāyikā (heroine). The Aṣṭanāyikā classification provides a refined taxonomy of feminine emotional experience in love—states that are not merely romantic but deeply psychological, social, and eventually spiritual. When embedded in bandishes, these archetypes become vehicles for rasa-realization.

The Concept of Aṣṭanāyikā

The Aṣṭanāyikā system describes eight emotional states of the heroine in relation to her beloved (nāyaka). These are:

Vāsakasajjā – She who adorns herself in joyful anticipation of union.

Virahotkaṇṭhitā – She who suffers from intense longing due to separation.

Svādhīnapatikā – She whose beloved is devoted and submissive to her.

Kalahāntaritā – She separated from her beloved due to a quarrel.

Khaṇḍitā – She who reproaches her lover for infidelity.

Vipralabdhā – She who is deceived by her lover.

Proṣitabhartṛkā – She whose lover is away on a journey.

Abhisārikā – She who boldly ventures out to meet her beloved despite obstacles.

Though codified in classical dramaturgy, these emotional states reflect lived social and psychological realities, especially of women in pre-modern Indian society. This universality enabled their seamless absorption into musical and poetic traditions.

Aṣṭanāyikā and Rasa in Musical Composition

Rasa is the aesthetic essence experienced by the listener, arising from the interaction of vibhāva (stimulus), anubhāva (expression), and vyabhicārī bhāvas (transitory emotions). Each nāyikā state is intrinsically aligned with specific rasas:

Śṛṅgāra (love) dominates in Vāsakasajjā and Svādhīnapatikā.

Vipralambha-śṛṅgāra (love in separation) is central to Virahotkaṇṭhitā and Proṣitabhartṛkā.

Raudra and Māna subtly inform Khaṇḍitā and Kalahāntaritā.

Karuṇā (pathos) emerges strongly in Vipralabdhā.

Vīra and Adbhuta resonate within the Abhisārikā archetype.

In bandish composition, these rasas are not overtly declared but are suggested through sahitya, melodic contours, tempo, and register. The performer’s interpretive depth determines how fully the rasa is realized.

Rāga and Nāyikā Bhāva: A Subtle Correspondence

Certain rāgas have historically been favored to express specific nāyikā states due to their emotional color:

Rāgas of komal swaras and poorvāṅga dominance (e.g., Todi, Marwa, Puriya) often convey viraha and yearning, aligning with Virahotkaṇṭhitā or Proṣitabhartṛkā.

Madhya-laya, śuddha-swara rāgas (e.g., Khamaj, Desh, Tilak Kamod) are frequently used for Śṛṅgāra-based nāyikās like Vāsakasajjā.

Serious, introspective rāgas (e.g., Bhairavi, Darbari Kanada) can embody Khaṇḍitā or Vipralabdhā.

The rāga thus acts as an emotional field, while the nāyikā provides narrative specificity within that field.

Aṣṭanāyikā in Compositional Forms of Indian Music

The thematic presence of the Aṣṭanāyikā finds rich and varied expression across the compositional forms of Indian music. While the emotional archetypes originate in dramaturgy and poetry, music provides a uniquely potent medium to internalize, abstract, and universalize these states. Each compositional form negotiates the nāyikā-bhāva differently, depending upon its aesthetic priorities, performative context, and historical evolution.

Dhrupad and Dhamār: Dignified Emotion and Inner Restraint

In the Dhrupad tradition, emotional expression is highly sublimated. The nāyikā is rarely depicted in overtly narrative or descriptive terms. Instead, her emotional state is absorbed into the gravitas of rāga ālāp and the contemplative pace of the bandish. Nāyikās such as Virahotkaṇṭhitā and Proṣitabhartṛkā find particular resonance here, as Dhrupad excels in portraying inner stillness, longing, and dignified sorrow.

Dhamār and Horī compositions, though rhythmically livelier, also carry nāyikā elements—especially in festive or seasonal contexts—where separation and union are juxtaposed. The emphasis remains on archetypal emotion rather than personal drama, aligning with Dhrupad’s spiritual and meditative orientation.

Khayāl Bandish: Psychological Depth and Musical Freedom

Khayāl offers the most expansive canvas for the Aṣṭanāyikā concept. The bandish text often explicitly references the emotional condition of the heroine—waiting, reproaching, longing, surrendering—while the improvisational structure allows the performer to explore subtle psychological shifts.

Nāyikās such as Khaṇḍitā, Vipralabdhā, and Svādhīnapatikā are frequently encountered in Khayāl compositions. Through bol-ālāp, bol-bānṭ, and vistār, the singer gradually unfolds layers of emotion embedded in the sahitya. The rāga functions as an emotional ecosystem, while the bandish anchors the nāyikā’s narrative identity.

Importantly, Khayāl allows the same bandish to be interpreted differently by performers, making the nāyikā not a fixed character but a fluid emotional presence shaped by musical imagination.

Ṭhumrī and Dadra: Explicit Emotional Narrativity

Ṭhumrī represents the most explicit and emotionally direct engagement with the Aṣṭanāyikā framework. Here, the nāyikā is central, vocal, and psychologically vivid. Abhisārikā, Khaṇḍitā, and Vipralabdhā are particularly prominent, as the genre thrives on expressive lyricism, suggestive melodic movement, and nuanced abhinaya-like interpretation.

The bol-banāv approach in Ṭhumrī allows the performer to dwell on individual words and phrases, heightening emotional suggestion. Rāgas such as Khamāj, Pilu, Gārā, and Bhairavī support the delicate interplay between desire, reproach, vulnerability, and devotion. Dadra, with its lighter rhythmic framework, often presents similar themes in a more intimate and conversational tone.

Semi-Classical and Light Classical Genres

Genres such as Kajrī, Horī, Chaitī, and Ghazal also embody nāyikā states, often rooted in seasonal, social, or regional contexts. Folk-inflected compositions frequently portray the Proṣitabhartṛkā (woman awaiting her absent husband) or the Virahotkaṇṭhitā, reflecting lived experiences of separation due to migration, agrarian cycles, or social norms.

In these forms, the nāyikā is less idealized and more grounded, bridging classical aesthetics with everyday emotional reality.

Folk Music Traditions: Collective Emotional Memory

Across Indian folk traditions—Bhojpuri, Rajasthani, Punjabi, Bengali, and others—the emotional archetypes of the Aṣṭanāyikā appear organically, even when not consciously named as such. Songs of waiting, complaint, longing, and bold pursuit of the beloved mirror classical nāyikā categories, demonstrating the deep cultural embedding of these emotional patterns.

Unlike classical compositions authored by identifiable composers, folk songs represent collective emotional memory. Here, the nāyikā is not an artistic construct but a social voice, reinforcing the universality and timelessness of the Aṣṭanāyikā concept.

Together, these compositional forms illustrate how the Aṣṭanāyikā evolves from a codified aesthetic principle into a living emotional language—one that adapts itself fluidly across genres, regions, and performance traditions.

Spiritual Transposition: Nāyikā as Jīvātmā

In the Bhakti and Sufi traditions, the nāyikā–nāyaka relationship undergoes a profound metaphysical transformation. The nāyikā becomes the jīvātmā (individual soul), and the nāyaka the Paramātmā (divine soul). Longing, separation, jealousy, and surrender are no longer merely erotic but spiritual states.

Compositions of Surdas, Meera, Andal, Kabir, Amir Khusro, and Bulleh Shah frequently adopt the feminine voice to express divine yearning. Virahotkaṇṭhitā becomes the seeker’s anguish; Abhisārikā becomes the soul’s fearless journey toward God; Svādhīnapatikā symbolizes spiritual fulfillment.

Music, in this context, becomes a sādhana—a means of transcendence—where the aesthetics of love culminate in spiritual realization.

The Aṣṭanāyikā framework offers an enduring aesthetic, psychological, and spiritual foundation for Indian musical composition. Within the bandish, it enables the synthesis of poetry, melody, emotion, and metaphysics. Far from being a static classical doctrine, the Aṣṭanāyikā remains a living, evolving presence—resonating across rāgas, genres, and devotional traditions.

For the performer and composer alike, engaging with the nāyikā bhāva deepens interpretive authenticity and transforms musical expression into an experience of rasa and reflection. In this sense, the bandish becomes not merely a composition, but a mirror of the human soul in its many states of love and longing.

Introduction

The period associated with Sadarang (Niyamat Khan) and Adarang (Firoz Khan), active in the early eighteenth century at the Mughal court of Muhammad Shah ‘Rangeela’, represents a decisive moment in the evolution of bandish and the formal consolidation of Khayāl as a major genre of Hindustani classical music. Although Khayāl as a musical idea and practice existed prior to this era, it was through the compositional vision of Sadarang and Adarang that the bandish acquired a stable internal structure, a refined literary idiom, and an enduring aesthetic purpose. Their compositions continue to form the core repertoire of Khayāl performance, pedagogy, and aesthetic understanding even in contemporary practice.

Historical Transition and the Emergence of a New Musical Sensibility

The Sadarang–Adarang period must be understood against a backdrop of broader cultural and social transition. For several centuries preceding this phase, Dhrupad had dominated the classical music landscape, embodying an austere, formal, and largely sacred aesthetic closely associated with temple ritual and imperial patronage. By the early eighteenth century, however, the cultural climate of North India was undergoing significant transformation. The weakening of centralized Mughal authority and the changing nature of courtly life under Muhammad Shah encouraged artistic forms that privileged refinement, emotional intimacy, and aesthetic pleasure.

Within this milieu, Khayāl emerged as a form that retained the discipline and rāga-consciousness of Dhrupad while allowing greater flexibility in melodic movement, tempo, and emotional expression. The bandish assumed a central role in this transformation. No longer a rigidly pre-composed entity, it became a suggestive nucleus around which imagination, improvisation, and personal interpretation could unfold. Sadarang and Adarang were instrumental in shaping this new compositional ethos.

The aesthetic transition from Dhrupad to Khayāl can be observed by comparing compositional intent and textual orientation. Earlier Dhrupad compositions in rāgas such as Bhairav or Malkauns are typically anchored in devotional invocation or royal praise and framed by extended nom–tom ālāp. In contrast, Sadarang’s Khayāl bandish “Eri āli piyā binā” in Rāga Khamāj foregrounds intimate personal longing rather than ritual devotion. The emotional core of separation (viraha) replaces invocation, illustrating the shift from sacred formality to psychological interiority that defines early Khayāl aesthetics

Compositional Vision of Sadarang and Adarang

Sadarang and Adarang were musicians deeply grounded in the Dhrupad tradition, yet acutely responsive to evolving aesthetic sensibilities. Their contribution lies not in a radical rupture from the past but in a sensitive reconfiguration of existing musical principles. Through their compositions, they established a consistent internal grammar for Khayāl bandish, most notably through the sthāyī–antarā structure that allowed systematic exploration of lower and upper registers while preserving rāga coherence.

Equally significant was their emphasis on vilambit laya as the primary temporal space for rāga elaboration. This slow tempo created the conditions necessary for sustained melodic contemplation, subtle intonation, and gradual emotional unfolding. The bandish, in this context, functioned as an anchor—firm enough to maintain identity, yet flexible enough to accommodate extensive improvisation. This balance between fixity and freedom remains one of the defining characteristics of Khayāl to this day.

The standardized sthāyī–antarā structure introduced by Sadarang and Adarang is clearly evident in bandishes such as “Man mohan shyām sundar” in Rāga Yaman and “Sakal bana phūl rahī” in Rāga Bihāg. In these compositions, the sthāyī firmly establishes rāga identity within the madhya and mandra registers, while the antarā provides a natural ascent into the tāra saptak. The melodic outline is deliberately sparse, allowing performers to expand rāga phrases gradually in vilambit laya. These examples demonstrate how the bandish functions as an architectural framework rather than a closed melodic entity.

Literary Character and Poetic Economy

The sahitya of Sadarang–Adarang bandishes reveals a distinctive literary sensibility shaped by both aesthetic economy and performative necessity. The language employed is predominantly Braj Bhasha, interwoven with elements of Khari Boli and Persianized idiom reflective of the cosmopolitan court culture of the time. Rather than elaborate poetic narration, these compositions rely on brevity, suggestion, and emotional implication.

Themes commonly revolve around the nāyikā–nāyaka relationship, especially states of longing, separation, reconciliation, and gentle reproach. However, these emotions are rarely described in detail. Instead, a few carefully chosen words are used to evoke a psychological state, leaving space for the musician to elaborate meaning through melodic interpretation. This poetic restraint allows the bandish to remain open-ended, capable of sustaining multiple emotional readings across different performances and gharānā styles.

The poetic restraint of Sadarang–Adarang bandishes is evident in texts such as “Ras ke bhare tore nain” and “Banā banā āyo re”. These compositions employ minimal language, often consisting of a single emotional statement. Phrases such as “piyā binā” or “kaise jiyū̃” evoke longing and emotional vulnerability without elaborate narrative. The absence of descriptive detail allows the emotional content to be shaped primarily through melodic interpretation, illustrating how literary economy enhances musical expressivity in Khayāl bandish.

Musical Construction and Improvisational Insight

From a musical perspective, the enduring relevance of Sadarang–Adarang compositions lies in their profound rāga-centric design. Each bandish is carefully crafted to foreground characteristic swaras, melodic phrases, and directional movement unique to the rāga. The placement of text within the melodic line demonstrates a keen awareness of laya, enabling seamless interaction between word, rhythm, and melody, particularly in slow tempo exposition.

The phonetic quality of the sahitya further enhances musical expressivity. Vowel-rich syllables and open consonants facilitate meend, gamak, and subtle ornamentation, allowing the voice to move fluidly through the rāga landscape. Importantly, these compositions possess a remarkable elasticity: even after prolonged improvisation through ālāp, bol-ālāp, and vistār, the integrity of the bandish remains intact. This quality has made them indispensable both as pedagogical models and as vehicles for mature artistic exploration.

Musically, the rāga-centric intelligence of these bandishes can be observed in compositions like “Jāgīrī dekho re sā̃wariyā” in Rāga Todi or “Āj morā ghar āyo shyām” in Rāga Desh. Characteristic swaras and chalan-based movements are embedded directly into the melodic structure of the bandish, subtly guiding improvisation. Elongated vowels are placed on structurally significant notes, enabling singers to explore intonation, meend, and microtonal nuance during vilambit development. Despite extensive improvisation, the bandish remains clearly recognizable, reaffirming rāga identity upon return.

Socio-Cultural and Aesthetic Worldview

The thematic orientation of Sadarang–Adarang bandishes reflects the socio-cultural ethos of early eighteenth-century North India. There is a perceptible shift away from purely devotional or ceremonial subject matter toward an exploration of individual emotional experience. Love, longing, anticipation, and reconciliation are treated not merely as personal sentiments but as aesthetic states worthy of prolonged contemplation.

At the same time, these compositions embody a synthesis of cultural influences. Elements of Hindu devotional imagery coexist with the refinement and sensuousness of Persian court culture, resulting in a composite aesthetic that would later become a hallmark of Hindustani classical music. The frequent use of the composer’s mudrā within the text also signals a growing awareness of artistic authorship and individuality, marking a subtle but important departure from earlier anonymous compositional traditions.

The socio-cultural orientation of Sadarang–Adarang compositions is reflected in bandishes such as “Daras binā dukh lāge”, where the emphasis lies on personal emotional distress rather than overt devotion or moral instruction. The frequent inclusion of the composer’s mudrā, particularly the name “Sadarang” within the sahitya, marks a shift toward individual artistic self-awareness. The blending of Braj poetic imagery with a refined courtly sensibility mirrors the composite culture of the Mughal court, where Hindu and Persian aesthetic traditions coexisted and informed musical expression.

Enduring Popularity and Legacy

The continued prominence of Sadarang–Adarang bandishes in contemporary Khayāl practice can be attributed to their exceptional aesthetic balance. They offer sufficient structural clarity to define rāga identity while remaining open enough to invite imaginative elaboration. Their themes are emotionally universal, their musical design is pedagogically sound, and their adaptability allows them to be interpreted across diverse stylistic lineages without losing their essence.

The enduring relevance of these bandishes can be substantiated by their continued performance across gharānās. A single composition such as “Man mohan shyām sundar” in Rāga Yaman is interpreted differently within the Gwalior, Kirana, Jaipur, and Agra traditions, yet its melodic identity and emotional intent remain intact. This adaptability demonstrates the structural robustness of Sadarang–Adarang compositions and explains their continued role as foundational pedagogical and concert repertoire.

Conclusion

The Sadarang–Adarang period represents a foundational moment in the history of the Khayāl bandish. The compositions emerging from this era encapsulate a sophisticated understanding of rāga, rasa, language, and cultural context. Far from being static historical artifacts, these bandishes continue to function as living texts—shaping performance practice, aesthetic values, and musical thought across generations. Through them, bandish emerges not merely as a compositional form, but as a dynamic interface between imagination, emotion, and society.

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