by David Courtney working tools


Bahar is a very popular springtime rag.  During the spring, it may be sung at any time of the day.  There are a number of film songs which use this rag; "Chham Chham Nachat Ayi Bahar" and "Sakal Bana Gagan Chalat Puravai" are two examples (more examples).  However during any other season, it is a night time ragBahar has a very distinctive character.  It uses both Nishads; it uses shuddha Ni (natural 7th) in the arohana and the komal Ni in the avarohana.  For those who are still inclined towards the Vadi / Samvadi theory, it has been suggested that Ma is the vadi and Sa is the samvadi.  This rag cannot be performed straight but must be executed in a vakra fashion; for it is the characteristic twists which give this rag its form.  The pakad is therefore extremely important.


Ascending structure for Bahar
(general discussion of arohana) - (general discussion of notation)


Descending structure of Bahar
(general discussion of avarohana)


Shadav - Sampurna - (general discussion of jati)


Spring - (general discussion of time and rag)


Kafi That - (general discussion of that)


Pakad of Bahar
(general discussion of pakad)


Sa - Pa - (general discussion of drone)


For more information check out "Elementary North Indian Vocal"



Selected Video












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For comments, corrections, and suggestions, kindly contact David Courtney at david@chandrakantha.com