S-R-g-m-P-D-nN-S
As per Tanarang, Bahar (meaning ‘spring’) “brings out nature’s beautiful blessings…full of shringar and bhakti ras…khatkas and intricate taans are conducive to its dynamic, fleeting nature”. While rooted in the Kanada raganga, the raga features a Malharic twin-Ni, with the shuddha being more prominent. Bageshri hallmarks are also evident in the weak aroha Re, and the use of shuddha ma as nyas (e.g. S/m, m/n\P) – although Pa is also strong, and the Kanada avroh signature is preferred (e.g. Pgm, gmRS. In recent generations, the raga has proved itself an attractive jod ingredient (Parrikar: “highly promiscuous, and has been found in flagrante delicto with several other ragas”), appearing in such conjunctions as Bhairav Bahar, Bageshri Bahar, Rageshri Bahar, and Tilang Bahar.
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• Hindustani Raga Index •
—Shashank Maktedar (2020)—
[refrain, e.g. 4:44] (mPDSN)S (N)S, nP (PmP)m P, m\g m, (mP)n, SNS, nP…
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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 | 32 | Enclosed | 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.
–Swara Geometries–
• Core form: S-R-g-m-P-D-nN-S
• Reverse: SrRgmPDnS (=none)
• Inverse: dha; SmdnS (=none)
• Imperfect: 2 (Dha, Ni)
• Detached: 1 (Ni)
• Symmetries: none
• Murchanas: Suha Todi (on Re)
–Global Translations–
• Carnatic: (~Kapi/Kannada)
S-R2-G2-M1-P-D2-N2-N3-S
• Jazz: Dorian (dbl. 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)
o • o o • o • o • o o o o
• Tanpura: Sa–Pa
• Names: Bahar, Bahaar, Bahar Kanada, Bahari (not Bihari)
—Tejendra Majumdar (~2000s)—