The word Bahaar means spring. An extremely popular and beautiful melody associated with the happy mood of Spring season, this is a chanchal (sprightly) raga by nature.
Thhaat (parent scale)
Kafi
Jaati:
Shaadav (6-notes in both ascent and descent)
Vaadi:
Madhyam (M)
Samvaadi:
Shadja (S)
Swaras:
Omits Rishabh (R ) in ascent and Dhaivat (D) in descent; employs Komal Gandhaar (g) and both Nishaads (N in ascent and n in descent); rest shuddh swaras
Aaroh (ascent):
S g M P g M P n-D N S’ (Western Notes: C D# F G D# F G A# A B C)
Avaroh (descent)
S’n P M P g M R S (Western Notes: C A# G F G D# F D C)
Key phrases:
S, g M R S, S M, M P g M, n-D N S’, R’N S’, N S’R’S’, g’M’R’S’, D n P, M P g M, n-D N S’
Time:
Any time during Spring; otherwise midnight
This raga unfolds its lively persona in the Uttaraang (upper tetrachord) of the Saptak (septet). It shares its notes with Miyan ki Malhar but character and chalan-wise both are poles apart. It exudes romance and lent its beauty in association with numerous ragas such as Basant Bahaar, Adaana Bahar, Bhairav Bahaar Hindole Bahaar etc.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
3. The Raga-ness of the Ragas by Deepak Raja
Links
1. Ustad Bismillah Khan (shehnai)
2. Ustad Bade Ghulam Ali Khan (vocal)
3. Pandit V G Jog (violin)
4. Pandit Ulhas Kashalkar (vocal)
5. Ustad Rashid Khan (vocal)
Pandit Venkatesh Kumar preforming Raag Bahaar.
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