S-r-G-mM-P-dD-N-S

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Bhankar is a complex morning form which introduces Lalit-flavoured phrases to the basic framework of Bhatiyar. Manjiri Asanare-Kelkar cites two main variants sung in her Jaipur-Atrauli gharana, one of which also features touches of Bhairav – with both versions sharing common phrases including Bhatiyar’s Sm mPG, MDS and Lalit’s NdMm, GmMmG. She also elucidates how “there are certain swara-lagav which are beyond grammar, and cannot be explained in words…to understand them, I request that you listen to the recordings of Pandits Mallikarjun Mansur and Rajshekhar Mansur” (see her full Amodini breakdown below). Parrikar, who connects Bhankar to the ancient Pancham lineage, points out that the Jaipur-Atrauli versions differ from those of other gharanas – in the Agra edition, only shuddha Dha is used, with phrases from Poorvi replacing those of Lalit (e.g. NDMGMG, MGrS). Ocean of Ragas summarises the main distinctions from Bhatiyar: “Bhankar…nyas is also on Ga, tivra Ma is more dominant, and the M-D and P-G sangatis are stronger”. Refer to vocal renditions from Dilrang (Agra), Faiyaz Khan (Agra), A.T. Kanan (Kirana), Laxmibai Jadhav (Jaipur-Atrauli), and Jitendra Abhisheki (mixed-gharana) – as well as instrumentals from Vilayat Khan (sitar), Ramprapanna Bhattacharya (surbahar), and Rais Khan & Amjad Ali Khan (sitar/sarod: a unique jugalbandi with incredible double-tabla accompaniment from the superstar Benares duo of Kishan Maharaj & Sharda Sahai). [n.b. ‘Bhankar’ and ‘Bhankari’ are distinct entities: while both are based on Bhatiyar, the latter is a recent Ramrang creation which also draws on Jait, Bibhas, & Deshkar]. Compare to other members of the Lalit raganga.

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—A.T. Kanan (1971)—

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[bandish, e.g. 0:23] SGmP, m(GmG)P P(Gm)rS; SGmP, m(GmG)P, P(GmG)rS; SGMD M(DMP)G P(GP)G P(G)rS; SGMD M(DMP)G P(GP)G P(G)rS; SGmP, m(Gm)P, P(GmG)rS, SGmP…

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Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s pair of Bhankar demo lessons, covering her tradition’s incarnations of the raga (from her Amodini: The Joy of Rare Ragas series):

 

[Bhankar version 1] “Namaskar, today I will talk about Raag Bhankar. Personally I know of two different versions – here I will discuss the first, beginning with the bandish: mmGMmG, M(G)G, MD(N)S, SS(N)S, S(N)rNdP P(dP)m, m(GmM)mG, GrG MG MGrS, Sm mGMmG, M(G)G, MD DS, S…

 

Bhankar is a ‘shade raga‘ – so I will explain the phrases in relation to the bandish. In this version, you will mainly find shades of Lalit and Bhatiyar, as well as glimpses of Bhairav [n.b. also compare to Bhatiyari Bhairav]:

• [Lalit] mMmG; rG MGrS NrS; mMmMmG; MGrS
• [Bhatiyar] m mPG; Sm mPG; MDS
• [Bhairav] rS rN; NdP Pdm mPG

The phrase mPG can be used in reference to either Bhatiyar (Sm mPG MDS) or Bhairav (Pdm mPG). This is the overall picture – I will conclude with a composition in madhya rupak”.

 

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—Bhankar v1 (Amodini demo)—

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[Bhankar version 2] “Namaskar, today I will explain the second version of Bhankar. In the first version, we find shades of Bhairav, Lalit, and Bhatiyar – but in the second, there are only shades of Lalit and Bhatiyar. Even though this is a shade raga, we mainly find shades of these two ragas. I will explain with reference to the bandish, using my thumb to signify Bhatiyar, and my index finger for Lalit: m mPG, PGrS, SrNrGm, mdMm, mPG, PGrSm mPG, MDM, MDS, DSrS, SNrNDMm, MmG, NrGm, mdMm, mPG, PGPGrG, mmPG, PGrSm, mPG, GmdMm, mG, PGrS, MD, MDS, DSNrS, SNrNdMm, mdMm, PG, PGrSm, mmPG, MDMDS, NrS, SNrNdMm, MdMm, dMm, mPG, mPGmdMm, mG, NrGm mPG, MDMDS, rNdMdMm, mPG, PGPGrS, m mPG.

 

This is the overall structure. Some of you may feel the presence of Bibhas Shuddha Dha – this is because it shares certain swaras and phrases with Bhatiyar (this is the beauty of shade ragas). While I have just explained the grammar and structure, I feel that there are certain swara-lagav which are beyond grammar, and cannot be explained in words. To understand them, I request that you listen to the recordings of Pandits Mallikarjun Mansur and Rajshekhar Mansur. You will certainly feel what I mean by saying this. I will now conclude with the same composition in rupak.”

 

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—Bhankar v2 (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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: Purba, Sazgiri, Sonakshi, Lalita Gauri

Also compare to other members of the Lalit raganga

–Swara Geometries–

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• Core form: S–r–G–mM–P–dD–N–S

• Reverse: SrgGmMPdNS

• Complement: SRgnS

• Imperfect: 2 (Pa, dha)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Kashiramakriya

S-R₁-G₃-M₁-M₂-P-D₁-D₂-N₃-S

• Jazz: Double Harmonic (dbl. 4th/6th)

1-b2-3-4-#4-5-b6-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-6-7-8-9-11-0

(1–3–1–1–1–1–1–2–1)

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o o • • o o o o o o • o o

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• Tanpura: Sa–Pa

• Names: Bhankar, Bhankhar (n.b. despite overlap, Bhankari is a distinct raga)

• Transliterations: Hindi (भांकर)

—Laxmibai Jadhav (~1960s)—