Page "Khyal" Paragraph 1

Khyal bases itself on a repertoire of short songs ( two to eight lines ); a khyal song is called a bandish.

Every singer generally renders the same bandish differently, with only the text and the raga remaining the same.

Khyal bandishes are typically composed in a variant of Urdu / Hindi, and sometimes in Persian, Marathi or Punjabi, and these compositions cover diverse topics, such as romantic or divine love, praise of kings or gods, the seasons, dawn and dusk, and the pranks of Krishna, and they can have symbolism and imagery.

The bandish is divided into two parts — the sthayi ( or asthayi ) and the antara.

The sthayi often uses notes from the lower octave and the lower half of the middle octave, while the antara ascends to the tonic of the upper octave and beyond before descending and linking back to the sthayi.

The singer uses the composition as raw material for improvisation, accompanied by a harmonium or bowed string instrument such as the sarangi or violin playing off the singer's melody line, a set of two hand drums ( the tabla ), and a drone in the background.

The role of the accompanist playing the melody-producing instrument is to provide continuity when the singer pauses for breath, using small variations of the singer's phrases or parts thereof.

While there is a wide variety of rhythmic patterns that could be used by the percussionist, khyal performances typically use Ektaal, Jhoomra, Jhaptaal, Tilwada, Tintal, Rupak, and Adachautaal.