Raag Bahar- Short Khayyal with Alap and Taans

Bandish---"Balaam ba mayeeri live recording from concert

Raag Bahaar

Swar Notations

Swaras Rishabh and Pancham Varjya in Aaroh, Dhaivat Varjya in Avroh. Gandhar Komal, Both Nishads. Rest All Shuddha Swaras.
Jati Audhav - Shadhav Vakra
Thaat Kafi
Vadi/Samvadi Madhyam/Shadj
Time 2nd Prahar of the Night (9PM to 12AM) or Anytime in Spring Season.
Vishranti Sthan S; m; P; - S'; m; R;
Mukhya-Ang S m ; P m g m ; n P m ; m n D N S' ; n P m ; P m ; g m R S;
Aaroh-Avroh S R S m P m g m D N S' - S' n P m g m R S ,N S;

Raag Description: Raag Bahar is a beautiful Raag that most appropriately brings out nature's beautiful blessings. Renderings with appropriate Khatkas and series of beautifully composed intricate patterns of Taans are conducive to its dynamic fleeting nature. In Raag Bahar, Madhyam is a prominent note, so one should have a Nyas on Madhyam while rendering Aalaps.

Raag Shahana-Kanada with Nyas on Pancham is nearest to this melodic format. The combination of this Raag is prominent in Raags like Basant-Bahar, Bhairav-Bahar, Malkauns-Bahar, Adana-Bahar, Bageshree-Bahar etc.

In Avroh, Gandhar is used in a Vakra form like: g m R S ; P m g m. Rishabh is sometimes sparingly used in Aaroh like: g m D N S' ; N R' S' ; D N S' R' g' R’ g’ S’ R' N S' ; N S' R' R' S' N S' ; S' n D N S' ; n P m. This Raag is playful in nature and full of Shringar and Bhakti Ras. This is a Uttarang Pradhan Raag. Following combinations of notes with pause emphatically on Madhyam brings out the melodic mood:

R S ,N S m ; P m g m ; n P m ; m n D N S' ; n P m.