About the Collections of Bandesh & the Staff Notations of Swar Bistar
It is commonsense for us who are studying Indian classical music, but these are points to make notes of how to read its pieces for those who are not.
The part of Gat, which is performed with the cycles of the given rhythms in the latter half of Northern Indian classical music, is improvised based on the compositions of Bandesh.
Furthermore, practice of Swar Bistar goes a long way towards to improvisation.
We make use of Swar Bistar in practising the scales to acquire the melodic principles of Raags. These melodies are reiterated thousands times and tens of thousands times until we have them infiltrated to the bones such that they become able to be played by spinal reflex.
In doing so, we condition ideas of improvisation to spring to mind at will while playing.
Count of the beats a bar appears dissimilarly in the staff notations of Swar Bistar. It does not signify that musical time differs. Understand the phrases to rhyme.
It always is necessary to be conscious of count of beats in each phrase and practise from the viewpoint of nature to develop improvisation with the numerical combinations of the phrases.
For example, reiterate accenting every first beat of each bar and cultivate such feeling.
It is linked with the true charm of this music that relationship between the melodies and the numbers is pursued and extemporisation of interest is derived.
Here I am going to publish Raags in order from those which Bandesh and Swar Bistar accompany.
There are such Raags also in the note of Swar Bistar as the only [Arohi] ascending scales and [Avarohi] descending scales are collected, I will introduce them later.
Most melodies of collected Bandesh in Vilambit Tintaal start from the 12th beat but not the 1st beat.
Understand compositions to begin with the anacrusis and finish up with the 1st beat.
Sthayee is a composition with full 16 beats played repeatedly but not a composition of 6 beats, which starts from the 12th beat and ends with the 1st beat.
In the case of Manjh and Antara, they are taken over to Sthayee after each one cycle of theirs is rendered from the 12th beat to the 11th beat.
It adopts means to lay conclusions of improvisation on the 1st beat or the 11th beat and return to Sthayee in terms of Vilambit.
Compositions in Drut Tintaal mainly begin with the 1st beat or the 9th beat, but exceptions are also found. Attention needs to be paid to the symbols.
+ = [Sam] the 1st beat
0 = [Khaali] the 9th beat (in terms of Tintaal)
Understand compositions, that start from the 9th beat, to begin with the anacrusis in the case of Drut.
Improvisation basically ends with either the 1st beat or the 9th beat and returns to Sthayee same here.
Moreover, when I transcribed Indian musical pieces into the staff notations, replaced combinations of the quavers and the quaver rests with crotchets as they become crotchets from the viewpoint of performing the staff notations, though they may be written quavers and quaver rests in terms of the means to write Indian musical pieces.