The fixed composition, bandiś, holds an important place in North Indian rāg performance. The bandiś usually opens the nibaddh stage of the performance. Moreover, it is used as the basis of much improved development. Rhythmically, its structure gives important clues to the rhythmic style of the performance and the genre to which it belongs. The principal structural parameters of the bandiś considered here are: the tāl and lay; length—the number of sections and lines; melodic rhythm—its correlation with the tāl structure and the influence of the verse metre; and the variability of the bandiś.
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