Vocal Forms of Hindustani Music
The song forms a Hindustani vocal student learns to sing, from the first sargam geet to the bada khayal: where each comes from, how it is built, and which exam level asks for it.
- Khayal ख्याल The main form of Hindustani classical singing today: a two-part bandish (sthayi and antara) developed with alaap, bol-alaap, sargam and taans. The bada khayal is sung in vilambit laya, the chhota khayal in madhya or drut laya. From level 1 Full lesson
- Dhrupad ध्रुपद The oldest surviving form of Hindustani classical singing. It has four parts (sthayi, antara, sanchari, abhog), is preceded by nom-tom alaap, is sung to the pakhawaj in taals such as Chautaal, and is developed through layakari: dugun, tigun and chaugun. From level 2 Full lesson
- Dhamar धमार A dhrupad-style song sung in Dhamar taal (14 matras), its words usually about Holi in Braj and Radha and Krishna. It is accompanied by the pakhawaj, and layakari (dugun, tigun, chaugun) is its main feature. From level 3 Full lesson
- Tarana तराना A composition sung on meaningless syllables such as ta, na, dere, tom and nadir, usually in drut laya. Tradition credits Amir Khusrau with creating it. From level 3 Full lesson
- Sargam Geet (Swarmalika) सरगम गीत (स्वरमालिका) A composition set to taal in which the only words are the names of the notes (Sa Re Ga Ma...). It is usually the first composition a student learns in a new raga. From level 2 Full lesson
- Lakshan Geet लक्षण गीत A song whose words describe the raga it is sung in: its thaat, jati, forbidden notes, vadi, samvadi and time. You learn the raga's theory and its sound together. From level 2 Full lesson
- Bhajan भजन A devotional song in light classical style, usually in Keherwa or Dadra. The ABGMVM syllabus asks for a bhajan and for the Mandal prayer, "Jai Jagdish Hare". From level 2 Full lesson
Learning this with a teacher
These pages will take you a long way on theory. The singing needs a guru — live online classes, one level at a time, with exam preparation built in.