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

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A dawn raga fabled as a creation of Raja Bharthari, a mythical King of Ujjain who is said to have left behind his life of material wealth and romantic pleasure to pursue a path of ascetic devotion (“Bharthari resolves to kill a black buck, and seek diksha [initiation rites] from the yogi…As the plan unfolds, it is Guru Gorakhnath who brings the buck back to life, and makes him his disciple…this done, Bharthari becomes a yogi…”). Somewhat resembling a ‘vakra Marwa with ma and Pa’, Bhatiyar omits or limits re and Ni in aroha – with, as per Deepak Raja, “a centre of melodic gravity in the mid-octave region, but tilting towards the upper tetrachord”. Some perceive a foreboding character, but the raga’s subtleties can produce many moods. Considered by Parrikar as part of a trio of historically-connected ragas, along with Bhankar and Pancham.

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• Raga Masterlist (1000+) •

राग भटियार

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• Hindustani Raga Index •

Aroha: SDPDm; PG; MDS

Avroh: rNDPm; PGrS

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Chalan: e.g. SDDP; Pm; PG; MDS; rNDPm; PGrS (Raja)

—Mita Nag (2014)—

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[jor motifs, e.g. 4:58] N(SNR) N(SNS) N(SND), DNrG/mG(rm) Gm(G)r, SS, NN r, S; S/m, m, m…mPD N(SNSNS) D(NDNDN) P…

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• More •

Histories, melodies, mythologies, etc…

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—Imagery: Epic of Bharthari—

“The young Prince Bharthari is spotted by barbers and pundits from the Court of Singhaldeep [Sri Lanka], who came looking for a suitable groom for their princess. He alone bears the lakshana of a chakravartin [wise counsel], and seems a desirable match for the princess. They approach Bharthari’s mother for her son’s hand in marriage. She responds saying that her son is destined to become a yogi…” (Epic of Bharthari)

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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: Bhankari, Shuddha Basant, Lalit Pancham, Pancham, Sohini Pancham, Vihang

–Swara Geometries–

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• Core form: S–r–G–mM–P–D–N–S

• Reverse: SrgmMPdNS

• Complement: SRgdnS

• Imperfect: 2 (re, Pa)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Chayatharangini

S-R₁-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydian-Ionian b2

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)

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o o • • o o o o • o • o o

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• Tanpura: Sa–Pa (+Dha)

• Names: Bhatiyar, Bhatiar, Bhatiyaar, Bhatiyari, Bhattihari

• Transliterations: Hindi (भटियार); Bengali (ভাটিয়ারী)

—Malini Rajurkar (~1980s)—