S-R-g-m-P-D-nN-S

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A blend of the late-night Bageshri and the springtime Bahar, most prominently recorded by Bhimsen Joshi (below: from his 1997 Rarely-Heard Ragas album, also featuring Hindolita & Jaijaiwanti Nat: although the actual recording session appears to have taken place in 1980). Matches the swara set of ‘Kafi double-Ni’, and is thus prakriti with several other ragas (e.g. Miyan Ki Malhar, Sindhura, Barwa). Pa and komal ni assume greater prominence than in Bageshri (e.g. Bahar-style n\P glides), with characteristic phrases including Dn(D)SnS and (D)nSRSnS. Often, RgRS is favoured over Bageshri’s mgRS – and the use of shuddha Ni is typically infrequent, serving to preserve the base scale’s palindromic nature (PDnS<>SRgm). Kishori Amonkar has also taken the raga to soaring heights via an evocative pair of bandish (bada khayal: Rut Basant ki Apni Umang So & chota khayal: Sajan Sang Kaahe Nahi Rahi) – with the latter composition featuring a far more Malharic focus on shuddha Ni than in any of Joshi’s interpretations.

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राग बागेश्री बहार

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—Bhimsen Joshi (1997)—

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[refrain, e.g. 2:25] Sn(S)D (S)Dm, nSS, Dn(D)S, nD(Pm) m(D) (nD)S; S(nSnS)R R(S) S(nDn) D, (n)S n\P P(DP)m\g, g(m) mP(Pm)P…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Miyan ki Malhar, Charju ki Malhar, Barwa, Bahar, Sindhura, Sughrai, Hussaini Todi, Lanka Dahan Sarang

–Proximate Forms–

Kafi = ‘Bageshri Bahar only ni‘

Patdeep = ‘Bageshri Bahar only Ni‘

Desh = ‘Bageshri Bahar shuddha Ga‘

Chandrakaushiki = ‘Bag. Bahar komal dha‘

Tanseni Madhuvanti = ‘Bag. Bahar tivra Ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Negative: 5-3-2-2

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: (~Kapi/Kannada)

S-R₂-G₂-M₁-P-D₂-N₂-N₃-S

• Jazz: Dorian double 7th

1-2-b3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-9-10-11-0

(2–1–2–2–2–1–1–1)

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o • o o • o • o • o o o o

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• Tanpura: Sa–ma

• Names: Bageshri Bahar, Bageshwari Bahar, Bageshree Bahaar

• Transliterations: Hindi (बागेश्री बहार); Bengali (বাগশ্রী বাহার)

—Kishori Amonkar (~1990s)—