Bahar

Theory

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 oral tradition, and therefore writing is not an essential part of attaining talim (systematic study).

But in recent years, a couple of methods of notation (Swarleepi) for Hindustani Classical Music have evolved. A prominent example of them are Bhatkhande Swarleepi (widely used in the present time) by Pt. Vishnu Narayan Bhatkhande.

The creator of this raga was Hzt Amir Khusrau.

Arohana & Avarohana

Arohana: Ṇ S M ❟ P G̱ M Ṉ D N Ṡ

Avarohana: Ṡ Ṉ P ❟ M P G̱ M R S

Vadi & Samvaadi

Vadi: Ma

Samvadi: Sa

Jati

Shadav - Shadav

Thaat

The Raag belongs to Kafi Thaat

Pakad or Chalan

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)

The raag is sung at the Middle Night time.

Seasonality

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

Rasa

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

Combination with other Ragas

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

Film Songs

Language: Hindi