In Urdu poetry, a bahr is the underlying rhythmic pattern that an entire ghazal adheres to — a sequence of long and short syllables. This app teaches you to hear it, see it, and scan it for yourself.
What makes a syllable long or short.
The bahrs: hear them, drill them, look them up.
Paste any verse and see its bahr.
Read ghazals by Ghalib, Mir, Faiz, Dagh and others, with the Handbook's, couplet by couplet.
Tap a real line's rhythm syllable by syllable, or match a verse to its bahr by ear.
Convert between Roman, Urdu, Fārsī script and Devanagari with candidate spellings.
Platts (1884), Fallon (1879) & Steingass (1892) classical lexicon: 145k entries, etymology and poetic idioms.
Audio tuning, custom voice recording, and scansion tips.
Every scan marks each syllable long (=, two letters) or short (–, one letter), and a flexible syllable (x) may go either way, as the meter needs. These are Pritchett’s terms
(Handbook §1.5 ↗). Here is the key, and one line marked out:
x.Every syllable is long (=) or short (–), and a meter is a pattern of them. To read a line, split each word into syllables and weigh each one.
Rule one: a syllable is two letters or one. Count letters, not sounds: every letter of the alphabet, the doubled letter a tashdīd stands for, the madd on Alif (Alif Madd, آ), and a hamza inside a word.
Invisible to meter: the marks zer, zabar, pesh and jazm (script §5 ↗); the aspiration ھ (do-chashmī he, §10 ↗); the nasal ں (nūn-e ghunnah, §9 ↗); the dotless ی that carries a hamza. Older texts write plain gol he for aspiration; it is still invisible when it aspirates. A written jazm over a consonant says it has no vowel of its own, so it closes a syllable.
A nasalizing ن can also sit in the middle of a word. It usually comes after a long vowel; the exceptions are mostly Indic verbs with ن in the first syllable.
The weight law. Two letters → long (=). One letter → short (–). A long is meant to last about double a short. A syllable that may go either way is called flexible.
Handbook §1.5 ↗Rule two: begin with a consonant if you can. Every letter counts as a consonant except Alif (ا) and Alif Madd (آ), which are always vowels, and و, ی, ے when they are the second letter of a syllable. Syllables that begin with Alif (ا) or Alif Madd (آ) normally occur only at the start of a word. ع and a hamza inside a word act as consonants; a hamza is never the second letter of a syllable.
Handbook §1.3 ↗Rule three: the split follows pronunciation. Use the ordinary spoken word, not the spelling alone; when unsure, ask a native speaker or check a dictionary that marks pronunciation.
Handbook §1.4 ↗Some syllables can be long or short. The meter of the line decides which.
Small words like ہے and میں can go either way. Many common one-syllable words (کو، سے، کا، ہے، میں، بھی، نے، ہوں، یہ، وہ، جو، تو, and also دو، تھا، ہی، سا، سی، کے، کی، ہو، یوں) are flexible: two letters, so normally long, but the poet may scan them short. Once the meter of a line is known, each one is simply long or short there. The form is consonant + vowel or consonant + h; particles, pronouns, postpositions and verb forms are the likeliest to bend. When in doubt, treat every such one-syllable word as flexible on a first reading.
Handbook §2.1 ↗Words that do not bend. تا، گو، یا are virtually always long; so are کیا، کیوں، جیوں (one long syllable despite the cluster) and Arabic or Persian noun monosyllables such as mai, jaa, juu. In modern usage بہ، کہ، نہ are always short (Mir sometimes scans kih and nah long).
Handbook §2.1 ↗The word اور (aur). A special case that is a common source of error: it is scanned (= –) as two syllables or (=) as one.
Handbook §2.1 ↗Word endings can bend too. Inside longer words, flexibility is almost always at the end. A final two-letter syllable ending in ی, ے or ہ is nearly always flexible; one ending in و or alif often is (more in Indic verb forms than in Persian or Arabic words). Exceptions in the middle of a word are rare (koī = x x). As a rule of thumb, treat every final consonant + vowel (or consonant + h) syllable as flexible until the meter says otherwise.
Handbook §2.2 ↗Words that can split two ways. Some consonant-heavy words may be divided in two ways: barhaman (= – =) or (– = =); barkat (= =) or, in the older Arabic reading, (– – =).
Handbook §2.3 ↗Spelling that shows the scansion. Some words change their weight when their spelling changes, and are then scanned exactly as written: meraa (= x) versus miraa (– x); ek (= –) versus ik or yak (=); vahaañ (– x) versus vaañ (=). A tashdīd may also be present without being written, as in rakhaa: (– x) or (= x).
Handbook §2.4 ↗The page shows separate words, but the voice runs some of them together. When a line seems a syllable too long or too short, look for a join: the iẓāfat, grafting, or the conjunction o.
Next: weights group into named patterns. Meet the feet →
★ sālim: an original foot ◇ muzāḥaf: a variant of one
The Handbook’s order lists feet that begin with long syllables first, then those that begin short. Handbook ch. 5 ↗
Pick a family to hear its tune sung as dum (long) and da (short), then sing along as the syllables light up.
Khalil ibn Ahmad al-Farahidi (8th century CE) discovered that classical poetic meters are generated by five circular rhythmic loops. Rotating around the loop generates different base meters. Combining the rhythm with line length and ending modifications calculates the bahr’s full name and selects its classical verse.
Within a single ghazal, poets freely mix ziḥāf variations of the same base bahr. The first couplet might end intact (Sālim), while subsequent couplets trim the final foot (Maḥẕūf). Because both originate from the same circle rhythm, our scanner automatically recognizes and matches all permitted ziḥāf siblings of a bahr.
Filter through classical meters, rubāʿī forms, and Hindi meters.
Type or paste a verse in Urdu to see its bahr, syllable by syllable.
Layers: turn on any mix. The ribbon under a playing couplet has the same switches.
On iPhone, web audio follows the side mute switch — flip it off if you hear nothing.