|Time of day||Any time in spring else around midnight|
|Arohana||S R2 G2 M1 D2 S|
|Avarohana||S D2 M1 G2 R2 S|
|Hindustani classical music|
Writing about the musical theory of Indian classical music is fraught with complications. First of all, there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim(knowledge).
Arohana & Avarohana
Arohana: ni Sa ga ma Pa, ga ma ni Dha Ni Ṡa
Avarohana: Ṡa ni Pa ma Pa ga ma Re Sa
Vadi & Samavadi
Jati: Shadav - Sampurna
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
Organization & Relationships
Certain ragas have seasonal associations. Raag Bahar is usually rendered in the Spring season
Since it is the raga of spring, it can be considered that the raga has shringara rasa.
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors) The Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.
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