Basant Bahar, a compound melodic structure that incorporates phrases from the raags Basant and Bahar, is a vital presence in the spring soundscape of northern India. As is the case with many compound raags, Basant Bahar has compositions that bring in different colours of the constituent raags by displaying segments of each in separate lines of the song-text or by bringing in a quick succession of phrases of both raags in the same line. Such raags have thus placed demands on the artistic acumen of composers and performers to judiciously select phrases from each of the individual raags to flow into the other via conduit notes or phrases.

Here are a few interpretations of a traditional composition in raag Basant Bahar presented by leading representatives of different gharanas.

Ustad Amir Khan

The first track features the maestro Amir Khan, founder of the Indore gharana. He adroitly weaves together patterns from the individual raags in slower passages as well as in the taans or fast melodic patterns. The composition is presented in vilambit or slow paced Jhumra, a fourteen matra taal.

Smt. Heerabai Badodekar & Smt. Saraswatibai

The next track features the same composition sung by the renowned vocalist Heerabai Badodekar of the Kirana gharana in a duet with her sister Saraswatibai Rane. They sing the composition in the twelve matra Ektaal. They conclude with a drut or fast-paced composition in the sixteen matra Teentaal.

Kishori Amonkar

Here is yet another interpretation in Teentaal rendered by Kishori Amonkar, doyenne of the Jaipur-Atrauli gharana.