Bahar (raga)

BaharThaat| Kafi

|

Type| Shadav-Shadav
Time of day| Any time in spring else around midnight
Season| Spring
Arohana| Ṇ S M ❟ P G̱ M Ṉ D N Ṡ
Avarohana| Ṡ Ṉ P ❟ M P G̱ M R S
Vadi| Ma
Samavadi| Sa
Similar|

* Shahana Kanada
* Shahana Bahar
* Basant Bahar
* Adana Bahar

Hindustani classical music

Concepts

* Shruti
* Swara
* Raga
* Tala
* Thaat
* Gharana

Instruments
|  Melody

* Vocals
* Sitar
* Sarod
* Surbahar
* Rudra veena
* Violin
* Sarangi
* Esraj/Dilruba
* Bansuri
* Shehnai
* Santoor
* Harmonium
* Jal tarang

Rhythm

* Tabla
* Pakhawaj

Drone

* Tanpura
* Shruti box
* Swarmandal

Genres
|  Classical

* Dhrupad
* Dhamar
* Khyal
* Tarana
* Sadra
* Sikh music

Semiclassical

* Thumri
* Tappa
* Chaiti
* Kajari
* Hori
* Sawani
* Dadra
* Qawwali
* Ghazal

Thaats

* Bilaval
* Khamaj
* Kafi
* Asavari
* Bhairav
* Bhairavi
* Todi
* Purvi
* Marva
* Kalyan

* v
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* e

Bahar is a Hindustani classical raga. This raga is very similar (but still distinct) to raga Miyan ki Malhar. This raga is from the Kafi Thaat.

## Theory

[edit]

Writing about the musical theory of Indian classical music is fraught with complications due to its complex and intricate nature. First of all, there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim (systematic study).

But in recent years, a couple of methods of notation (swar leepi) for Hindustani Classical Music have evolved. A prominent example of them are BhatKhande Swar leepi (widely used in the present time) by Pt. VishnuNarayan BhatKhande,

Creator: Hzt Amir Khusrau

### Arohana & Avarohana

[edit]

Arohana: Ṇ S M ❟ P G̱ M Ṉ D N Ṡ[a][1]

Avarohana: Ṡ Ṉ P ❟ M P G̱ M R S[b][1]

### Vadi & Samvaadi

[edit]

Vadi: Ma

Samvadi: Sa

### Jati

[edit]

Shadav - Shadav

### Thaat

[edit]

The Raag belongs to Kafi Thaat

### Pakad or Chalan

[edit]

The bare scale of this raga has little unique musical meaning, and is, therefore, required to be documented in a manner that incorporates its zigzag phrasing pattern.

R N. S M/ M M P g M / n P M P g M/ P g M n D n P/ g M n D N S' [or] g M D - N S'/ g' M' R' S'/ R' N S' D n P/ n n P M P g M/ P g M R S

### Samay (Time)

[edit]

The raag is sung at the Middle Night time.

### Seasonality

[edit]

Certain ragas have seasonal associations. Raag Bahar is usually rendered in the Spring season.

### Rasa

[edit]

Since it is the raga of spring, it can be considered that the raga has Shringara Rasa.

## Combination with other Ragas

[edit]

Raag Bahar is/can be combined with many ragas because it adds contrast, it can break the monotony of a single mood and offer a duality of emotion in a raga. This is why raga Bahar participates in forming many Jod Ragas. Following is the list of some names of ragas combined with raga Bahar to form a new Jod Raga:

* Adana Bahar
* Bageshri Bahar
* Basant Bahar
* Bhairav Bahar
* Hindol Bahar
* Jayant Bahar
* Kanada Bahar
* Kedar Bahar
* Khamaj Bahar
* Nayaki Bahar
* Rageshri Bahar
* Shahana Bahar
* Shuddha Bahar
* Sohini Bahar
* Suha Bahar

## Prominent Bandishes (Compositions) Set in Raag Bahar

[edit]

Serial Number  | Raag Name  | Bandish Initials or Bandish Name  | Taal  | Composer/Bandish Creator Name

|
|
|
|

1  | Raag Bahar  | Aaye Shyam Radhika Sanga

आए श्याम राधिका संग[2]

| TeenTaal | Pt. Gokulotsavji Maharaj

## Film Songs

[edit]

Language : Hindi

Song  | Movie  | Composer  | Artists

|
|
|

Sakal Bana Gagan  | Mamta (1966 film) | Roshan (music director) | Lata Mangeshkar
Sakal Bana  | Heeramandi (2024)  | Sanjay Leela Bhansali, Amir Khusro | Raja Hasan
Man Ki Bin Matavari Baje  | Shabaab (film) | Naushad | Lata Mangeshkar and Mohammed Rafi
Chham Chham Nachat Ayi Bahar  | Chhaya (film) | Salil Chowdhury | Lata Mangeshkar
Re Re Bahar Ayi  | Jai Hanumaan(1973 film)  | Narayan Datta  | Asha Bhosle and Mahendra Kapoor

### Language: Tamil

[edit]

Song  | Movie  | Composer  | Singer

|
|
|

Thumbi Thullal  | Cobra | A. R. Rahman | Nakul Abhyankar, Shreya Ghoshal

## Notes

[edit]

1. ^ Alternate notations:

* Carnatic: Ṇ₃ S M₁ ❟ P G₂ M₁ N₂ D₂ N₃ Ṡ
* Western: B C F 𝄒 G E♭ F B♭ A B C

2. ^ Alternate notations:

* Carnatic: Ṡ N₂ P ❟ M₁ P G₂ M₁ R₂ S
* Western: C B♭ G 𝄒 F G E♭ F D C

## References

[edit]

1. ^ a b Bor & Rao 1999.
2. ^ Māthura, Nītā. (2011). Śāstrīya saṅgīta ke sūrya : Ācārya (Paṃ.) Gokulotsava Jī Mahārāja : saṅgīta sevā, śāstra cintana evaṃ bandiśoṃ kā saṅkalana (1. saṃskaraṇa ed.). Naī Dillī: Rādhā Pablikeśansa. ISBN 978-81-7487-765-9. OCLC 769743702.

## Sources

[edit]

* Bor, Joep; Rao, Suvarnalata (1999). The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records with Rotterdam Conservatory of Music. p. 28\. ISBN 9780954397609.

## External links

[edit]

* SRA on Samay and Ragas
* SRA on Ragas and Thaats
* Rajan Parrikar on Ragas
* Film Songs in Rag Bahar

Authority control databases |

* MusicBrainz work

|

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*[Ṇ]: Shuddha Nishada (lower octave)
*[S]: Shadja (Sa)
*[M]: Shuddha Madhyama
*[❟]: Pause or end of phrase
*[P]: Pancham (Pa)
*[G̱]: Komal Gandhara
*[Ṉ]: Komal Nishada
*[D]: Shuddha Dhaivata
*[N]: Shuddha Nishada
*[Ṡ]: Shadja (Sa, higher octave)
*[R]: Shuddha Re
*[v]: View this template
*[t]: Discuss this template
*[e]: Edit this template
*[Ṇ₃]: Kakali Nishada (lower octave)
*[M₁]: Shuddha Madhyama
*[G₂]: Sadharana Gandhara
*[N₂]: Kaishiki Nishada
*[D₂]: Chatushruti Dhaivata
*[N₃]: Kakali Nishada
*[R₂]: Chatushruti Rishabha