• Raag Bageshri Bahar •


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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—Bhimsen Joshi (1997)—

[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…


• Classifiers •

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

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 | 32Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.

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, Ahiri Todi, Bahar, Barwa, Hussaini Todi, Lanka Dahan Sarang, Sindhura, Sughrai


–Swara Geometries–

Core form: SRgmPDnNS
Reverse: SrRgmPDnS
Negative: 5-3-2-2
Imperfect: 2 (Dha, Ni)
Detached: 1 (Ni)
Symmetries: none
Murchanas: Miyan ki Malhar set

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


–Global Translations–

Carnatic: (~Kapi/Kannada)
Jazz: Dorian double 7th
Pitch classes (‘fret-jumps’):

o • o o • o • o • o o o o


• Tanpura: Sa–ma
• Names: Bageshri Bahar, Bageshwari Bahar, Bageshree Bahaar


—Kishori Amonkar (~1990s)—



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An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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