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, blend[ing] facets of Bhatiyar, Jait, Bibhas, and Deshkar while retaining an aesthetic coherence in the end product”. To my ears, Bhankari also appears to draw from Marwa (particularly in the weak treatment of Pa in descent) – although recordings are vanishingly rare beyond Ramrang’s originals.
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—Ramashreya Jha ‘Ramrang’ (~1990s)—
[refrain, e.g. 0:01] PGGP P, P(DNDPMP) GrS, PGGP, P…
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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.
–Swara Geometries–
• Core form: S-r-G-mM-P-D-N-S
• Reverse: SrgmMPdNS (=none)
• Inverse: ni; SGmnS (=none)
• 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)—