Please help us know the differences between Mian Malhar & Ba
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listener
- Posts: 16
- Joined: 06 Jul 2006, 21:09
Hi all,
Here is some basic information from http://www.sawf.org/newedit/edit04012002/musicarts.asp (under section "Raga Miyan Malhar") and http://www.sawf.org/Newedit/edit12112000/musicarts3.asp under "Raga Bahar". Further details and illustrative samples are available in those two links.
1) Bahar:
Here is some basic information from http://www.sawf.org/newedit/edit04012002/musicarts.asp (under section "Raga Miyan Malhar") and http://www.sawf.org/Newedit/edit12112000/musicarts3.asp under "Raga Bahar". Further details and illustrative samples are available in those two links.
1) Bahar:
2) Miyan Malhar:The chief features of Bahar are apprehended in the following:
S M , M P (M)g M, (P)n P M P (M)g M n D N S" (P)n P, n P M P (M)g M, (S)R S
As can be seen, strands of Bageshree and Kanada are co-opted and spliced in novel fashion to create an independent identity. The komal nishAd dominates, the shuddha nishAd is used only in prayogas of the type:
M n D N S"; D N S" R" N S"; N S" R" S" n D
The Ragangas of Malhar and Kanada support its architecture. Raganga Malhar supplies its signature phrase:
M (M)R (M)R P
Then there's the sui generis prayoga (mentioned earlier in the Shuddha Malhar section) with the two nishAds, a signpost of Miyan Malhar:
Arohi prayoga: S, N' n' n' D' N', N' S
avarohi praoyga: M' P' n' n' D' N' S (or P' n' N' S )
Miyan Malhar bears kinship to Raga Bahar, a member of the Kanada group. But while Bahar flaunts a powerful madhyam Miyan Malhar does not. The komal gandhAr is Andolita in Miyan Malhar (a la the avarohAtmak komal gandhAr of Darbari) whereas in Bahar it is not.
Last edited by listener on 04 Sep 2007, 03:16, edited 1 time in total.
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listener
- Posts: 16
- Joined: 06 Jul 2006, 21:09
Hello ranjani33,
I was trying to avoid my interpretation of the differences, in my earlier post. In my humble opinion, this is the simplest explanation I could think of:
1. Both ragas may sound similar superficially, though by careful listening one can notice the following:
- Ma (m1) is very strong in Bahar. By this, I mean that one can notice that the performer dwells around the Ma much much more often in Bahar than in Miyan Malhar.
- In Miyan Malhar, often the note 'r2' is to be sung as a sliding (jAru, in carnatic terms) note starting all the way from 'p' and ending at 'r2'.
- 'ga (g2)' in Miyan malhar is more like darbArI kAnaDA (the way it is treated in Hindustani Music, I mean... ). This is type of gamakam called 'AndOlitaM' in Hindustani music. Also the phrase 'm1 p g2 m1 r2 s' is handled in the same way as in the avarOhaNa of darbArI kAnaDa. This is not the case in Bahar.
- Bahar allows bAgEshrI type of movements like 'm1 d2', which Miyan Malhar does not allow.
- In both ragas, both n2 and n3 are allowed to occur consecutively (In fact, this is one of the salient features of both the ragas, and the source for confusing one with the other). However, please note that in Bahar, this occurs only as g2 m1 n2 d2 n3 s, whereas in Miyan Malhar, it occurs only as g2 m1 p n2 d2 n3 s.
To conclude, Miyan Malhar draws up its identity from the 'Malhar' family of ragas, whereas bahAr draws up its identity from ragas like bAgEshri and kAnaDA.
There are a few other salient features that I missed out. Please check the first link in my previous post. It has a short lec-dem by Pt. Ramashreya Jha Ramrang (in Hindi). Also, check out the treatment given to Miyan Malhar by the great Senior Dagar brothers in: http://sarangi.info/dagars-senior . Compare these with the Bahar rendition in http://sawf.org/library/?d=page&pid=sp181&parent=57 . These two represent the best recording available (to my knowledge) of the two respective ragas. Do listen to both carefully and notice the differences.
I was trying to avoid my interpretation of the differences, in my earlier post. In my humble opinion, this is the simplest explanation I could think of:
1. Both ragas may sound similar superficially, though by careful listening one can notice the following:
- Ma (m1) is very strong in Bahar. By this, I mean that one can notice that the performer dwells around the Ma much much more often in Bahar than in Miyan Malhar.
- In Miyan Malhar, often the note 'r2' is to be sung as a sliding (jAru, in carnatic terms) note starting all the way from 'p' and ending at 'r2'.
- 'ga (g2)' in Miyan malhar is more like darbArI kAnaDA (the way it is treated in Hindustani Music, I mean... ). This is type of gamakam called 'AndOlitaM' in Hindustani music. Also the phrase 'm1 p g2 m1 r2 s' is handled in the same way as in the avarOhaNa of darbArI kAnaDa. This is not the case in Bahar.
- Bahar allows bAgEshrI type of movements like 'm1 d2', which Miyan Malhar does not allow.
- In both ragas, both n2 and n3 are allowed to occur consecutively (In fact, this is one of the salient features of both the ragas, and the source for confusing one with the other). However, please note that in Bahar, this occurs only as g2 m1 n2 d2 n3 s, whereas in Miyan Malhar, it occurs only as g2 m1 p n2 d2 n3 s.
To conclude, Miyan Malhar draws up its identity from the 'Malhar' family of ragas, whereas bahAr draws up its identity from ragas like bAgEshri and kAnaDA.
There are a few other salient features that I missed out. Please check the first link in my previous post. It has a short lec-dem by Pt. Ramashreya Jha Ramrang (in Hindi). Also, check out the treatment given to Miyan Malhar by the great Senior Dagar brothers in: http://sarangi.info/dagars-senior . Compare these with the Bahar rendition in http://sawf.org/library/?d=page&pid=sp181&parent=57 . These two represent the best recording available (to my knowledge) of the two respective ragas. Do listen to both carefully and notice the differences.