This is an ancient raga – also known as Bhatiyaari. The original version of the raga has gone through several changes over the centuries. The present and popular version is discussed here.
Thhaat (parent scale)
Marwa
Jaati:
Audav-Sampoorn (5-notes in ascent, 7-notes in descent
Vaadi:
Madhyam (M)
Samvaadi:
Shadja (S)
Swaras:
Applies Komal Rishabh (r ) and both Shuddh and Teevra Madhyams (M and m), rest shuddh swaras but arranged in a unique fashion.
Aaroh (ascent):
S D D P, D M, P G, m D S’ (Western Notation: C A A G D F G E F# A C)
Avaroh (descent)
r’ N D P M, P G r S (Western Notation: C# B A G F G E C# C)
Key phrases:
S D D P M, M P G, P G r S, m D S’,S’r’N D P, m D S’, N r’S’, r’G’r’S’, S’M, M P G, m D P M, P G r S
Time:
Early Morning (before sunrise)
The uniquely designed gait of the raga, which lays emphasis on its Uttarang (upper tetrachord), gives it a narrow canvas. The note-combinations like SDDP, D-M, P-G define it clearly and sweetly. The Shuddh Madhyam plays a very important role, Teevra Madhyam plays a secondary role and Nishaad arrives fleetingly. The raga exudes peace and devotion.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
Links
1. Ustad Amir Khan (vocal)
2. Pandit Jasraj (vocal)
3. Pandit Nikhil Banerjee (sitar)
4. Pandit Ajoy Chakraborty (vocal)
Mita Nag (sitar) plays Raag Bhatiyar for Darbar in 2015, at Singur, West Bengal, India.
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