The music of borgeets are based on ragas, which are clearly mentioned; and raginis, the female counterparts of ragas, are emphatically not used.
 The rhythm (tala), on the other hand, are not mentioned; and borgeets need not be set to rhythm.
 Nevertheless, by convention tala is used when a borgeet is performed for an audience, or in a congregation, and in general specific ragas are associated with specific talas (e.g., Ashowari-raga with yati-maan; Kalyana-raga with khar-maan, etc.).
 The lightness that is associated with the khyal type of Indian classical music is absent, instead the music is closer to the Dhrupad style.
The singing of a borgeet is preceded by raga diya or raga tana, the local term for alap, but unlike the syllables used in Khyal or Dhrupad, words like Rama, Hari, Govinda, etc.
are used.
 Furthermore, raga diya is fixed as opposed to alap which is improvised.

The technique of Borgeet follows the Prabandhan Gana tradition which is contemporary to Dhrupad and Kriti of Hindustani and Carnatic music.
In borgeets, there are Talas from eight matras to thirty-two matras, all comprising three parts of proportionate length, viz.,
Ga-man, Ghat and Cok.
These Talas are different in structure, rhythmic pattern as well as playing style from the talas now played with Hindustaniand Carnatic music.
A few like Rupaka, Ektali, Yati, Bisam, etc.
are mentioned not only in the Sangita Sastras like Sangita Ratnakara but also in Jayadeva’s Gita Govinda.
The music of borgeets are based on ragas, which are clearly mentioned; and raginis, the female counterparts of ragas, are emphatically not used.  The rhythm (tala), on the other hand, are not mentioned; and borgeets need not be set to rhythm.  Nevertheless, by convention tala is used when a borgeet is performed for an audience, or in a congregation, and in general specific ragas are associated with specific talas (e.g., Ashowari-raga with yati-maan; Kalyana-raga with khar-maan, etc.).  The lightness that is associated with the khyal type of Indian classical music is absent, instead the music is closer to the Dhrupad style. The singing of a borgeet is preceded by raga diya or raga tana, the local term for alap, but unlike the syllables used in Khyal or Dhrupad, words like Rama, Hari, Govinda, etc. are used.  Furthermore, raga diya is fixed as opposed to alap which is improvised.
The technique of Borgeet follows the Prabandhan Gana tradition which is contemporary to Dhrupad and Kriti of Hindustani and Carnatic music. In borgeets, there are Talas from eight matras to thirty-two matras, all comprising three parts of proportionate length, viz., Ga-man, Ghat and Cok. These Talas are different in structure, rhythmic pattern as well as playing style from the talas now played with Hindustaniand Carnatic music. A few like Rupaka, Ektali, Yati, Bisam, etc. are mentioned not only in the Sangita Sastras like Sangita Ratnakara but also in Jayadeva’s Gita Govinda.
Borgeet