Bhatiyar

There are several varieties of rag Bhatiyar, also known as Bhatihar. Even within the most common type, described here, the interpretations differ (Bhatkhande [KPM VI] 1978: 96).

Tone material: S r G m M P D N

Bhatiyar is mainly elaborated in the upper part of the octave, and flat Re, Ga and Ni are virtually omitted in the ascent. While natural Ma is the predominant tone, sharp Ma is only used in the typical ascending movement leading to high Sa as M D /S. The descending movement is zigzag: r \N D, P D N \P- D \Pm, P  \G r S

Some characterstic phrases:
S /m- m P \G
S /D- P D N \P
D \m- P \G r S

Due to the use of peculiar phrases the scope for improvisation in this rag is somewhat limited. Nonetheless, it has a haunting appeal.

Rag Bhankar has some similarity to Bhatiyar. However in Bhankar both Ma-s can be used one after the other in succession, whereas in Bhatiyar the use of sharp Ma is restricted (Thakurdas [Rag darshan II] 1988:31).

Time: late night (Bhatkhande [KPM VI] 1978: 96).

Further listening:
Roshan Ara Begum ECSD 14620
Manik Verma ECLP 2313
Nikhil Banerjee AIR (C-ARCH) H-26
Film songs in Bhatiyar

Performance by Aslam Khan 

Composition: bada khayal

करम मोरे जागे री सजनी
पी मोहे दरस दिखायो

देख छबी वो
भयी मतवारी
रामदास हो जनम जनम के सुख पायो

I am blessed now that my beloved has finally arrived. I am enchanted by seeing his countenance. Ramadas (the composer) is immensely gratified for having this pleasure that will last for several life times.

Tal: Jhaptal (medium tempo)

Performance:
The performance opens with a typical phrase, m- P \G, P \G r S. This phrase recurs with variations throughout the performance (40-45, 54.5-59,87.5-92,118-120, 176-178, 190-194)
20 -23: Another characteristic phrase – NS R S /m, also recurs at 60-61, 93-95
46: After a short melodic introduction composition is presented. The refrain embeds a variation of one of the characteristic phrases in this rag -P D N \P- D \m
60: Second line of the composition
93: The same line is repeated
129: Having presented the first half of the composition (sthayi) elaboration begins using the song-text (bol alap)
160-164: Phrase includes the high Sa and Re, descending with a typical phrase -r \N D P two and half beats
167-170: Another characteristic phrase – P- D \Pm
262: Second part of the composition (antara)
277: Concluding line
309: Elaborations continue using the song-text