S-r-G-mM-P-D-N-S

---

A mega-mix of several ragas, Bhankari originates with Ramashreya Jha ‘Ramrang’, guru of Rajan Parrikar – who describes it as a “tantalizing melody blending facets of Bhatiyar, Jait, Bibhas, and Deshkar, while retaining an aesthetic coherence in the end product”. To my ears, Ramrang’s renditions also appear to draw from Marwa (particularly in the weak treatment of Pa in descent), while also overlapping significantly with some interpretations of ‘Bhankar‘, a diffuse raga form which long pre-dates Bhankari (Manjiri Asanare-Kelkar cites two main Bhankar variants, both comprising “shades of Lalit and Bhatiyar“, with the former also showing “glimpses of Bhairav“: indeed, I’m still unsure of how Bhankar and Bhankari relate to each other…further info welcome!). Compare to Ramrang’s other creations including Anjani Kalyan and Kesari Kalyan – and read a brief bio article (“His fertile imagination, retentiveness, and quickness of mind are the key strengths attending his creative impulse. He carries all the essential music in his head; always at hand for instant recall. In a typical composition, each word, swara, and matra are tied together in a symbiotic melodic ecosystem…”).

---

• Raga Megalist (365+) •

राग भांकरी

Search | Glossary | Tags

• Hindustani Raga Index •

—Ramashreya Jha ‘Ramrang’ (~1990s)—

---

[refrain, e.g.] PGGP P, P(DNDPMP) GrS, PGGP, P…

---

• Classifiers •

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.

• Prakriti: Bhatiyar, Shuddha Basant, Lalit Pancham, Pancham, Sohini Pancham, Vihang

–Swara Geometries–

---

• Core form: S–r–G–mM–P–D–N–S

• Reverse: SrgmMPdNS

• Negative: 4-1-5-2

• Imperfect: 2 (re, Pa)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

---

• Carnatic: ~Chayatharangini

S-R₁-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydian b2 (dbl. 4th)

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

• Pitch classes (‘fret-jumps’):

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

(1–3–1–1–1–2–2–1)

---

o o • • o o o o • o • o o

---

• Tanpura: Sa–Pa

• Names: Bhankari, (~Bhankar)

—Manjiri Asanare-Kelkar (2020)—

(also see Manjiri’s breakdown of the ‘second Bhankar prakar‘)