A pentatonic form introduced to the ragascape by Ravi Shankar in the 1940s, although the basic scale shape has likely been used in many guises throughout the ages. Its swara set – which concisely scatters interval jumps of 1, 2, 3, and 4 semitones – is describable as ‘Megh komal re’, while its melodies generally draw from the Bhairav–ang (e.g. sustained oscillations on komal re). Generally favoured by instrumentalists rather than vocalists, although audav specialist Amir Khan‘s renditions are ever-sublime. The nSr grouping is reminiscent of Vedic-era chant refrains (in Anoushka Shankar’s words, “Bairagi has this deep, spiritual, internal quality”), while the overall swara-set resembles the Carnatic Revathi – and also the ‘Insen Scale’ of Japanese court music (as highlighted in Aishik Bandyopadhyay’s intriguing Comparative Study between Indian Ragas and Japanese Scales). Also see Shankar’s derived Bairagi Todi – as well as Parameshwari, Gangeshwari, Kameshwari, Rangeshwari, Jogeshwari, Mohankauns, Ahir Lalit, and Pancham se Gara.
—Shahid Parvez Khan (2021)—
[refrain, e.g. 5:01] P/n\P, n S r, r/m g/m, (m)rS, P/n\P, n(Sn) S r…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
• Prakriti: (none found)
• Reverse: SRmPNS
• Negative: 3-1-1-2-2-1-2 (e.g. Jogeshwari Panch.
• Symmetries: none
o o • • • o • o • • o • o
• Names: Bairagi, Bairaga, Bairgi Bhairav, Bairagi Bhairon, ~Kshanika
—Rashid Khan (1997)—
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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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