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

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As per Tanarang, Bahar, derived from the Perisan for ‘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. Re is weak in aroha, and the shuddha ma is a vital a nyas – with the Kanada-ang mgmRS used as the main conclusion phrase (see melodic summary). In recent generations, the raga has proved itself to be an attractive jod ingredient (in Parrikar‘s words, “Bahar is highly promiscuous…and has been found in flagrante delicto with several other ragas”) – appearing in various colourful conjunctions including Basant Bahar, Bhairav Bahar, Bageshri Bahar, Rageshri Bahar, and Tilang Bahar.

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राग बहार

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• Hindustani Raga Index •

Aroha: NSm; Pgm; nDNS

Avroh: SnP; mP; gmRS

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Pakad: variable, e.g. mPgmnDNS; PgmRS

Chalan: illustrative sequences e.g. SRnSm; mPgm; nDNS; RNSnP; mPnm; PgmSRS (Bor/Dasgupta)

• Overlaps significantly with Miyan ki Malhar (e.g. nDNS; RSNS) – however Pa tends to be weak or skipped in aroha (e.g. gmDNS; mnDNS), and shuddha ma is much stronger as a nyas in both directions (e.g. RSNSm; Pmgm; nPm)

• Shuddha Re is weaker in ascent compared to most Malhar-infused ragas, and komal ga is usually taken in Kanada-ang motions such as PgmR; mgmRS – and many interpretations avoid shuddha Dha in descent (e.g. mPnm; nPgmRS)

• The ‘Miyan ki’ turnaround phrase (nDNS) can be explored with more flexibility than in Miyan ki Malhar itself, allowing for complex reshufflings and imaginative sruti tunings

• Permits chayas of several other well-known ragas, notably including Kafi (mP(m)gR), Bageshri (mgm; gmnD), Shahana (PmgmD), and Nayaki Kanada (nmP; mgmRS)

• Associated with the springtime (‘bahar’: Persian for ‘spring/equinox’) – thus inviting energetic, rejuvenating interpretations in faster tempos and higher registers, laden with intricate, florid ornaments

—Shashank Maktedar (2020)—

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[refrain, e.g. 4:44] (mPDSN)S (N)S, nP (PmP)m P, m\g m, (mP)n, SNS, nP…

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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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

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

Also compare to other members of the Kanada and Malhar ragangas

–Swara Geometries–

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• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Complement: SrGMdS

• 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 (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)

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o • o o • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Bahar, Bahaar, Bahar Kanada, Bahari (not Bihari)

• Transliterations: Hindi (बहार); Bengali (বাহার); Kannada (ಬಹಾರ್)

—Amjad Ali Khan (2004)—