S-rR-gG-m-P-D-nN-S

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A ten-toned multi-jod raga, Bhairav Bahar’s descent blends the melodic signatures of several disparate ragas, notably including the springtime Bahar – although, as per Darbhanga Dhrupad vocalist Premkumar Mallick, flavours of Bhairav should dominate the overall impression. Bose gives a vadi–samvadi of ma–Sa, while also mentioning the existence of an alternate ‘double-Dha’ version (thus allowing for the use of every swara position except tivra Ma). Refer to recordings by Bhimsen Joshi, Apoorva Gokhale, and Vilayat Khan (at the 1981 BBC Proms with Zakir Hussain on tabla, also showcasing the Imdadkhani sitarist’s impressive vocal skills) – as well as Rajan Parrikar’s rundown of further renditions. Appears to have no precise prakritis.

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• Hindustani Raga Index •

—Apoorva Gokhale (2018)—

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[bandish, e.g. 43:47] mG m/nD, D(nSN)S, nD(n)P, mg(mP)m G\r S, mG m/nD, D(nSN)S…

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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: (none found)

–Swara Geometries–

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• Core form: S–rR–gG–m–P–D–nN–S

• Reverse: SrRgmPdDnNS

• Negative: 10-2

• Imperfect: 2 (re, Ni)

• Detached: 1 (re)

• Symmetries: mirror (r—P)

• Murchanas: none

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

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–Global Translations–

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• Carnatic: ~Basant Bahaar

S-R₁-R₂-G₂-G₃-M₁-P-D₂-N₂-N₃-S

• Jazz: Ionian (dbl. 2nd/3rd/7th)

1-b2-2-b3-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-1-2-3-4-5-7-9-10-11-0

(1–1–1–1–1–2–2–1–1–1)

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o o o o o o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Bhairav Bahar, Bahar Bhairava

—Vilayat Khan (1981)—