How to Write Hindustani Classical Lyrics

So you want to write lyrics for Hindustani classical music. Amazing. Welcome to a craft where one line carries centuries, where a single syllable can bloom into a minute of improvisation, and where the singer feeds on words like a cat on cream. This guide is made for musicians, songwriters, and lyric nerds who want to write bandish, bol, or thumri that actually breathe and invite improvisation.

This is not a bland history lecture. You will get practical steps to write lyrics that fit the raga, sit on the taal, and give a vocalist a map to explore. Expect clear explanations of technical words, real life scenarios you will recognize, and exercises that will force you to stop overthinking and start making usable lines. Also expect a little attitude because classical music deserves confidence and honesty.

Why Hindustani classical lyrics are special

Hindustani classical lyrics are not pop lines you can loop and forget. They serve three jobs at once. First they declare a mood or story. Second they provide clear syllables to shape melodic improvisation. Third they act as anchors for rhythmic placement. That means every word choice affects melody shape, improvisational potential, and rhythmic clarity. Good lyrics make the singer feel like exploration is a party. Bad lyrics make the singer wish they were a tabla player instead.

Key terms explained so you sound smart in front of elders

• Raga A melodic framework. Think of it as a color palette and a breathing pattern. A raga has specific notes, typical phrases, and emotional flavor. For example Raga Yaman tends to feel calm and expansive at night.
• Taal The rhythmic cycle. Common ones are Teentaal which has 16 beats and Dadra which has 6 beats. The tala tells you where the strong beat called sam sits.
• Sam The first and strongest beat of the taal cycle. It is the musical home base. Aligning a key lyric word to sam is a common technique.
• Bandish A fixed composition. It is the written piece that singers use as the base for improvisation. It usually has a sthayi which is the main refrain and an antara which is the second part.
• Sthayi The opening stanza or refrain. It often contains the bandish title and returns after each antara or improvisation.
• Antara The second stanza that moves the melody or story forward.
• Bol Syllables that can be words with meaning or phonetic syllables used in vocalization. Bol can be used in tarana and sargam too.
• Bhava The emotion or feeling of the lyric. Bhava can be love, devotion, longing, joy, or melancholy.

Decide what you are writing for

Drop the romantic idea that any lyric will magically fit every raga. There are different kinds of lyrics. Be explicit early.

• Bandish for khayal. These are often short and designed to be repeated and improvised upon.
• Thumri. These are more expressive, lyrical, and allow freer rhythm and ornamentation. They use more colloquial language and romantic imagery.
• Dadra. A light classical form that often shares thumri language but sits in a simple taal of six beats.
• Bhajan or devotional composition. The language and thematic content will be devotional and repetitive.
• Tarana or sargam based pieces where syllables themselves are musical material. These need punchy phonetics rather than complex semantics.

Real life scenario. You are rehearsing with a young vocalist who wants to learn a new bandish for a concert. If you hand them a three line stanza with awkward consonant clusters, they will stomp on your toes during improvisation. If you hand them a clean, rhythmic bandish with emotive words, they will make you proud on stage.

Step 1 Choose raga and mood before writing words

Raga is the spine. Start by selecting a raga and describing its mood in one plain sentence. If you skip this step the lyrics will tug the melody in weird directions.

Examples

• Raga Bhairav. Mood description. Morning, devotional, serious, with crisp intonation.
• Raga Kafi. Mood description. Earthy, romantic, rustic, nostalgic.
• Raga Yaman. Mood description. Evening, serene, romantic with a sense of lift.

Write your mood line like a text to a friend. Example. For a thumri in Kafi write I want a playful, teasing love that feels like a street vendor offering laddoos. That silly line will stop you from writing lofty Sanskrit that chokes the melody.

Step 2 Pick a taal and map the sam

Decide the rhythmic cycle early. If you choose Teentaal which has 16 beats arrange your lyric syllables so that a strong word or the bandish title sits on sam. Sam is like the punchline. It pays to plan it.

How to map. Count the syllables of your line and place them on beats. Use short words on weak beats and longer vowels on strong beats. If the vocalist must stretch a vowel over multiple beats write a word that can hold open vowels such as aa, e, or o.

Real life scenario. You write a phrase that has three short consonant heavy words in a row. The singer will smash them together and the tabla will laugh. Instead write one longer, vowel rich word where you want space for ornamentation.

Step 3 Language and dialect choices

Hindustani classical lyrics come from multiple language pools. Choices matter because of vowel quality and cultural fit.

• Hindi and Urdu The most common. Urdu brings soft vowels and ghazal style images. Hindi gives earthy clarity.
• Braj Bhasha Popular for devotional and classical themes. It has a rustic charm and many traditional bandishes use it.
• Sanskrit Used in many devotional or classical compositions. Sanskrit has long syllables and strict prosody that demands careful placement.
• Persian or Punjabi Used in certain regional styles or for particular meters.

Tip. Match raga mood with language color. Raga Marwa or Bhairav often suit traditional Sanskrit or Braj devotional imagery. Raga Kafi and Yaman pair beautifully with Urdu romantic imagery.

Step 4 Keep phrases short and singable

Unlike pop, where sentences can ramble, classical lyrics need compact phrases. Each line is a platform for improvisation. Keep lines short and make sure they contain at least one open vowel or a syllable that can be elongated.

Examples of singable choices

• A word like prem or pyar has an open vowel at the end. It is easy to ornament.
• Words that end with consonant clusters such as shkt or ksh are hard to sustain. Avoid them at the point of expansion.

Rewrite example

Before: Tumhari muskurahat sach much mera dil todae deti hai.

After: Tum muskurao, mera dil roya.

The after line uses shorter words, a rhythmic feel, and vowels that can be held during improvisation.

Step 5 Use repetition as an anchor

Repetition is a classical superpower. A repeated phrase becomes a bhav anchor and listeners remember it during long improvisations. The sthayi will often include a repeated phrase that returns after each antara and after improvisatory passages.

Example ring phrase

Mere man mein baso, mere man mein baso. This line can be repeated and elongated at sam to signal return.

Step 6 Choose images that invite expansion

Classical lyrics often use sensory and symbolic images. But pick images that give performers something to sing about. Flowers, seasons, lamps, the moon, the beloveds hand, a spinning wheel, and a door that stays shut. Each image should be compact and evocative.

Do not be generic. Replace abstract words with objects and actions. Instead of writing I miss you write I keep your cup in the sink. That gives a camera shot and a place for ornamentation.

Step 7 Pay attention to prosody and stress

Prosody means aligning word stress with musical stress. Spoken stress patterns in Hindi and Urdu are not always obvious to non native speakers. Speak your lines out loud and mark the natural stress. Make sure stressed syllables land on strong beats or notes that are held long. If a crucial stressed word falls on a weak beat rewrite the line.

Exercise. Say your line at conversation speed while counting the taal. If the key word falls on a weak beat move or change the word. A singer will thank you with a cleaner finish.

Step 8 Build a bandish structure

A typical bandish layout you can steal.

• Sthayi Typically four to eight bars. Contains the title or hook. Simple rhythmic language for improvisation.
• Antara Usually four to eight bars. Gives a new melodic area and adds a second idea or image.
• Optional Sanchari or antara do if you want more narrative for longer performance.

Write the sthayi first. Make it sturdy. Then write the antara as a reaction or escalation. The antara can introduce a time crumb like night or a plot twist like separation.

Step 9 Tarana and bol patterns when you want percussive fun

Tarana is built with syllables that are musical rather than semantic. Think of tarana as scat singing in Hindustani classical. Use syllables like tan, dere, na, tom, and folktype bol patterns. The compositional goal is phonetic punch. Tarana lyrics must be rhythmically tight and full of syllables that a vocalist can roll with at speed.

Real life scenario. A vocalist wants a high energy finale. Give them a tarana line with short syllables. The tabla will high five you in slow motion.

Step 10 Respect tradition and avoid cultural laziness

Do your homework. If you write a bandish that uses religious or cultural references you should understand them. Do not toss words like lohar or guru without knowing their weight. If you want to sound old world use Braj but check word meanings. If you want devotional imagery use correct names and avoid mixing sacred names with romance in a way that could insult listeners.

This is both respect and practical. A wrong word will stop a performance faster than a flat note.

Lyric crafting exercises to get you unstuck

Vowel hold exercise

1. Pick the raga and pick a tonal center note where you intend to reach a held note.
2. Improvise on one vowel syllable like aa for two minutes shaped to the raga movements.
3. Mark the melodic peaks where a lyric word should hold. Now place one word that fits the vowel and mood.

Sam placement drill

1. Take the taal you plan to use and clap it on a loop.
2. Write four short candidate lines.
3. Practice saying each line while clapping. Move the words until one key word lands on sam.

Object and action spiral

1. Pick one object in a small scene like a lamp.
2. Write five tiny lines where the object performs an action each time.
3. Choose the line that creates the cleanest image and place it in your antara.

Before and after examples you can steal

Theme Longing in an evening raga

Before

I miss you and I think about you every night and I cry.

After

Chandni raat mein tera chitra dekhoon, rooh se pukaaroon.

Translation. In moonlit night I look at your portrait and call with my soul.

Why the after works. It has an image, a time crumb, and a vowel rich phrase that holds. The singer can ornament chitra and rooh with melodic flourishes.

Theme Devotion in morning raga

Before

I praise the teacher and feel grateful.

After

Guru charan mein pranam, subah bhayi, sur uthe nay.

Translation. I bow at the teacher s feet, morning has come, tunes rise anew.

Why the after works. The language is compact and devotional. It gives a place for ornamentation on guru and on the phrase that follows.

Common mistakes and how to fix them

• Overly long lines Fix by breaking the sentence into two lines and placing a breath or rest at the internal cadence.
• Word choices that are hard to sing Fix by replacing consonant heavy words with vowel rich synonyms.
• No clear sam anchor Fix by rewriting one word to align with sam or by moving the phrasing slightly within the bar.
• Images that are vague Fix by adding a specific object, time, or action.
• Too clever with metaphors Fix by preferring simple honest images that players can expand on.

How to collaborate with a vocalist or guru

Bring drafts. Sing them together at slow tempo. Be open to moving a word by a beat or changing the vowel shape. Remember the lyric is for the singer. If they ask to shift a syllable onto a different beat say yes and learn. You are not losing the poem you are gaining musical life.

Real life scenario. You wrote a beautiful antara that insists on a final word ending in t. The vocalist asks to change it to a word ending in aa so they can ornament into the high note. The right move is to change the word and respect the singer. The original meaning can survive in better musical form.

Modern tweaks that keep tradition alive

You can bring contemporary language in small doses. Use one modern image in a thumri for freshness. Avoid slang that breaks the sacred feel. For example a single word like telephone can be used if placed thoughtfully such as the beloved s absence shown by the phone ringing with no answer. The key is to make the modern detail feel poetic not newsy.

How to test your lyrics

1. Read them aloud without music. Do they feel like a single breath that can be shaped?
2. Sing them at slow tempo on a drone of the raga. Do they naturally suggest typical raga phrases?
3. Place the lyrics on the taal. Does sam land where you want it? Can a tabla player feel the phrase as clear counts?
4. Ask a vocalist to try a short improvisation over the sthayi. If they hesitate the lyric needs work.

Examples of useful lyric formats

Simple bandish template

Sthayi line 1. Sthayi line 2. Repeat sthayi line 1. Antara line 1. Antara line 2.

Write the sthayi to contain the title phrase once and make sure it can be repeated as a ring phrase. The antara can introduce a contrast or a time crumb.

Thumri template

Short stanza. Refrain. A call and response feel works well. Use conversational language and allow repeated exclamations like o yaara or re piya for emotion.

Prosody checklist before you finalize

• Does the key emotional word fall on a strong beat or extended note?
• Are vowels available for ornamentation?
• Are images specific rather than generic?
• Can the phrase be repeated without loss of meaning?
• Would a singer feel invited to improvise on this line?

Writing for performance and for practice

If the lyric is for a concert pick compact phrases so the vocalist can stretch them. If the lyric is for teaching pick phrases that demonstrate raga phrases clearly and include classic pakad or signature raga fragments in the melody if possible. Teach the vocalist how to place their improvisation around the lyric and not over it.

Action plan you can use tonight

1. Pick one raga and describe its mood in one sentence.
2. Choose a taal and clap it for two minutes. Feel sam with your chest.
3. Write a two line sthayi with a ring phrase that has one open vowel.
4. Write an antara that adds a specific object and a time crumb.
5. Read them aloud while clapping the taal and move words so the title hits sam.
6. Sing the lines on drone and mark the notes where you want the singer to ornament.
7. Play for a vocalist and ask them to try a two minute alap or improvisation around the sthayi.

Resources to expand your skill

• Listen to old masters and follow the bandish text. Notice how they repeat and where they stretch vowels.
• Study regional poets for imagery and phrase rhythm. For example read Braj poems to find rustic images.
• Work with a tabla player to test your taal mapping. Their feedback is immediate.

Lyric FAQ

Can I write Hindustani classical lyrics in English

Yes but with caution. English can work for fusion and contemporary compositions. If your audience and performers are comfortable then English can be used. Do not mix languages randomly. If you include English lines ensure they have singable vowels and clear prosody. The vocalist should be comfortable with the pronunciation under long melodic phrases.

How many syllables should a bandish line have

There is no fixed number but aim for compactness. Typical lines fall between six and twelve syllables depending on the tala. The real rule is that the singer must be able to place the line in the bar so that a key word can sit on sam. Use the sam placement drill to verify.

Should the title be a single word

Often yes. Single word titles are easy to repeat and to ring phrase. Many traditional bandishes have a single word title that is memorable. Two word titles can work if they are rhythmically tight and have a vowel that can be stretched.

What if my lyric uses a culturally specific image that I do not understand

Research. Talk to elders, ask a scholar, or consult reliable sources. Misusing a sacred image can create offense. It can also ruin the lyric. Understanding the background improves authenticity and saves embarrassment.

How do I write lyrics that invite improvisation

Keep syllables open. Place consonant heavy words away from places where the singer will ornament. Use repetition. Provide clear sam anchors. Use images that can be elongated musically such as names, lamps, moon, and breath words like saans or rooh. Finally collaborate with a vocalist and iterate.

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