Rageshri Bahar | SRgGmPDnNS | Hindustani Raga Index

S-R-gG-m-P-D-nN-S

A double-Ga, double-Ni fusion of Rageshri and Bahar, with the former dominating the aural impression. Abhirang, basing his analysis on a V.R. Athavale bandish, gives characteristic movements of DnSGm; mPgm; nDNS; DnSGmRS; SDnPm – while Subbha Rao’s Raga Nidhi Vol. 4 states that “the vadi is ma, and samvadi is Sa…Re is not used in aroha, and there are vakra sancharis…Bahar-ang is restricted to uttarang only”). Recorded by several over the years, including singers Aditya Modak, Pradeep Chatterji, Vasant Thakar, and Ram Deshpande, and sarodiya Radikha Mohan Maitra. Also see proximate compounds such as Tilang Bahar and Rageshri Kanada.

—V.R. Athavale (1988)—

[refrain, e.g. 2:48] GmD (Pm)P, P(Gm)G mR(SR) (S)nS mm, GmPmP P(DPmG)m, (P)nD, PD(nDN)S S(NS) nP(mG), S(mG) G(m)R, (S)G G(Pm) GR (S)nS mm…

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• Recent Raga Index Updates (Jan 2026): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

• 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: Jaijaiwanti, Jaijaiwanti Nat, Gara, Zila Kafi, Hanskinkini, Jayant Malhar, Ramdasi Malhar, Tilang Bahar, Nagadhwani Kanada, Patdeepaki

–Swara Geometries–

• Core form: S–R–gG–m–P–D–nN–S

• Reverse: SrRgmPdDnS (=Amiri Todi)

• Negative: 5-5-2

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

–Global Translations–

S-R₂-G₂-G₃-M₁-P-D₂-N₂-N₃-S

1-2-b3-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-9-10-11-0

(2–1–1–1–2–2–1–1–1)

o • o o o o • o • o o o o

• Names: Rageshri Bahar, Rageshree Bahar

• Transliterations: Hindi (रागेश्री बहार); Bengali (রাগেশ্রী বাহার)

—Aditya Modak (2017)—

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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!