• Raag Bibhas •

S-r-G-P-d-S


The pentatonic Bibhas (or Vibhas) appears in at least three present-day forms: typically tilted towards either the Marwa, Bhairav, or Poorvi frameworks. The former takes a shuddha Dha, while the latter pair render it komal (thus drawing focus to Pa, which is often treated as a nyas). Prakriti with Reva in its komal dha incarnation, the raga is differentiated via a pakad of PddP, PGP, GrS, as well as a weaker treatment of komal re (this form is probably the most popular ‘audav Bhairav’ raga: also see Gunkali, Devranjani, & Zeelaf). Parrikar highlights Jitendra Abhisheki’s rendition of He Narahara Narayana, a bandish composed by Bhatkhande (“whose colophon ‘chatura’ is cleverly wedged in the antara”: see Mohankauns for a sargam-rooted spin on the same idea, as well as my Alphamelodics: global word-melody article). Possesses the rare property of ‘centredness’ (i.e. its ‘constellation’ balances at the swara wheel’s exact centre).


Raga Megalist (365+) •
Search | Glossary | Tags
Hindustani Raga Index •

BlackLineNARROWER

Aroha: SrGPdS
Avroh: SdPGrS

Chalan: e.g. SrGrGP; GPdP; GPdPS; rSdP; GPGrS (Bor/Vyas) | or, in its Marwa-inclined form, e.g. GPD; DPGr; SPGPD; PSD; SrS; DP (Parrikar)

BlackLineNARROWER

—Shruti Sadolikar (1992)—


[refrain, e.g. 1:07] S (S)G (G)P (P)D, D D\P G\r S; S/r\S, S\D/S(r)S…

BlackLineNARROWER

• Ragmalas •

Historic miniature paintings (learn more)

“The lovers share a close embrace, as a peacock, perched on the roof, disrupts them with its loud cries. To silence it, the nayaka prepares to shoot it down. While the moon indicates that it is not yet dawn, the peacock cries as though it is early morning…” (Bundi, c.1860) / “Vibhasa Ragini: opaque watercolor heightened with gold on paper” (unknown, c.1760)

“Vibhasa Ragini, portrayed by the blue-skinned Krishna and his lover Radha; closely intertwined as their embrace is interrupted by the call of a bird. Krishna brandishes his arrows, constructed entirely of blossoms, to shoot down the disruptive bird. The flowery bow-and-arrow recall Kamadeva, god of love and lust…” (Rajasthan, c.1720) / “Vibhasa Ragini: opaque pigments heightened with gold on paper. A loving couple sits on a raised bed, as he shoots a lotus as an arrow from a flower-covered bow. A peacock standing on the pavilion’s roof, the sun shining in the background…” (Mewar, c.1775)

BlackLineNARROWER

• 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 | 32Enclosed | 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.

BlackLineNARROWER

• Prakriti: Reva

BlackLineNARROWER

–Swara Geometries–

Core form: SrGPdS
Reverse: SGmdNS
Negative: 3-1-2-1-3-1-1 (e.g. Rasikpriya)
Imperfect: 3 (Ga, Pa, dha)
Detached: 1 (Ga)
Symmetries: mirror (G—n)
Murchanas: none

Quirks: centred‘ (constellation balances at the wheel’s centrepoint)

BlackLineNARROWER

–Global Translations–

Carnatic: ~Revagupti
S-R1-G3-P-D1-S
Jazz: Phrygian Dominant (no 4th/7th)
1-b2-3-5-b6-8
Pitch classes (‘fret-jumps’):
0-1-4-7-8-0
(1–3–3–1–4)

o o • • o • • o o • • • o


BlackLineNARROWER

• Tanpura: Sa–Pa (+Dha)
• Names: Bibhas, Vibhas, Vibhāṣa (historic)

BlackLineNARROWER

—Manas Kumar (2020)—

BlackLineNARROWER

 

Get started with learning raga! •

Share these ragas! My site is 100% reliant on organic visitors (and none of your donations go to ad agencies…) – share this with fellow sonic searchers!

[MORE TO FOLLOW]

Like everything on my site, the Raga Index will always remain open-access & ad-free: however, anti-corporate musicology doesn’t pay the bills! I put as much into these resources as time and finances allow – so, to hasten the project’s expansion, you can:

Support the Raga Index! •

—Riyaz-focused notations & bandish—
—Resurrecting rare and ancient ragas—
—Further melodic & geometric analysis—
—Engaging with Hindustani performers—
—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—

 

Hindustani Raga Index

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

Megalist (365+ ragas)
Search: Find your new favourite •
Tags: Classifying the ragascape •
Glossary: Raga jargon demystified
Murchanas: Swara-set rotations •
Thaat: Bhatkhande’s base scales •
Ragatable: Analytical connections •
Tanpuras: Divine overtonal drones •
Quotes: Musings from raga artists •
Talas: Hindustani rhythm cycles •
Sa | Re | Ga | Ma | Pa | Dha | Ni
[Random Raga]

—Search the Raga Index—

Feedback / Contact •

George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

Projects & articles: full list •

everything 100% ad-free and open-access