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 the Gwalior master’s originals. 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; it is always at hand for instant recall. In a typical Ramrang composition, each word, swara, and matra are tied together in a symbiotic melodic ecosystem…”).
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—Ramashreya Jha ‘Ramrang’ (~1990s)—
[refrain, e.g. 0:01] 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)—