Bhairavi (Carnatic)

Janya raga of Carnatic music From Wikipedia, the free encyclopedia

Bhairavi is a janya rāgam in Carnatic music (musical scale of South Indian classical music). Though it is a sampoorna rāgam (scale having all 7 notes), it has two different dhaivathams in its scale making it a Bhashanga Ragam, and hence is not classified as a melakarta rāgam (parent scale).

TypeSampurna
ArohanamS R₂ G₂ M₁ P D₂ N₂ 
AvarohanamS N₂ D₁ P M₁ G₂ R₂ 
Quick facts Mela, Type ...
Bhairavi
MelaNatabhairavi
TypeSampurna
ArohanamS R₂ G₂ M₁ P D₂ N₂ 
AvarohanamS N₂ D₁ P M₁ G₂ R₂ 
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This is one of the ancient rāgams, said to have been prevalent about 1500 years ago. There are numerous compositions in this rāgam.[1]

Though a Raga called Bhairavi also exists in Hindusthani music, it is very different from the Carnatic version. Hindustani's Bhairavi, in terms of its aroha and avaroha alone, corresponds to Carnatic music's Thodi.

It is considered a janya of the 20th melakarta Natabhairavi. Its ārohaṇa-avarohaṇa structure is as follows (see swaras of Carnatic music for details on below notation and terms):

  • ārohaṇa: S R₂ G₂ M₁ P D₂ N₂ [a]
  • avarohaṇa: S‘ N₂ D₁ P M₁ G₂ R₂ S[b]

The other set of ārohaṇa and avarohaṇa used is:

  • ārohaṇa: S G₂ R₂ G₂ M₁ P D₂ N₂ [c]
  • avarohaṇa:  N₂ D₁ P M₁ G₂ R₂ S[d]

The notes used are chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham & shuddha dhaivatham and kaishika nishadham. Note the use of both dhaivathams, chathusruthi (D2) in ārohaṇa and shuddha (D1) in avarohaṇa.

While a janya of Natabhairavi melam, Bhairavi takes the anya swaram D2 in the ascent in the phrase P D2 N2 S. In descent as well as in the phrase P D N D P the D1 of the parent scale is used. Only R2 and M1 can be prolonged without gamakam. In the ascent G2 is held in conjunction with R2 with short or wide range of oscillation-the later as S G R G M. The gamakam on G ends in R. In descent the phrase M P G R is also used and G2 slides from M1 and oscillates. The phrase S G R G in the ascent and the ending of gamakam on G at R help to avoid flavour of Kharaharapriya which does not use S G R G and in which gamakam on G can end in G itself. Bhairavi is distinguished from Mukhaari by the use of the phrases P D2 N2 S and S G2 R2 G2 M1. The deft use of gamakams in handling G2 N2 D2 and D1 gives the raagam its flavour.

Bhairavi is one of the most popular ragas on the concert stage, due to its very wide scope for improvisation. This raga can be elaborated to beautiful effect in all three sthayis, but shines particularly well in the upper madhya and thara sthayis. The nishada, an important jeeva swara, can be rendered with varying degrees of gamaka, depending on which daivatha is used. The weight of this raga and the lack of vakra sancharas make brighas and slower phrases equally appealing. Syama Sastri's kamakshi Swarajathi uses every note of the raga as the starting swaram (graha swaram). This characteristic also means that the raga is well-suited to thanam, kanakku, and sarvalaghu swaras. Bhairavi is also one of the most common ragas in which ragam-thanam-pallavi is rendered, due to the scope for elaboration. There is a near-infinite number of compositions in this raga, which can be sung at any time of day but usually in the later hours of the day. [2] Ragas which have similar murchanas and/or anya swara patterns to Bhairavi include Manji, Mukhari, and Huseni.

Bhairavi has been decorated with numerous compositions by almost all composers. Viriboni varnam in Ata talam by Pacchimiriam Adiyappa is commonly sung at the beginning of a concert and is very popular. Given below are a few very popular compositions among the 100s in this ragam.

More information Type, Composition ...
TypeCompositionComposerTala
TanavarnamViriboniPacchimiriam AdiyappaKhandajathi Ata
TanavarnamVanita NinneTiruvarur Ramaswami PillaiAdi tala
TanavarnamSarasaku Raku Sarasa (Anuloma Viloma Varnam-Every line is a Palindrome-every line when read forwards and backwards, is the same)Walajapet Venkataramana Bhagavathar and Veena KuppayyarAdi tala
PadavarnamNee Sati DoraPonniah Pillai of the Tanjore QuartetRupaka
PadavarnamMohamana (Tamil translation of Nee Sati Dora but in praise of Thyagaraja at Tiruvarur)K. Ponniah PillaiRupaka
PadavarnamNanda GopalanaiPeriyasaamy ThooranAdi tala
SwarajatiNee Arulayo ThayePonniah PillaiAdi tala
Swarajati-Veene SheshannaAdi tala
SwarajatiKamakshi AmbaSyama ShastriMisra Chapu
GeetamParvathi JananiSyama ShastriKhanda Matya
GeetamSri RamachandraUnknown ComposerChathurasra Jathi Dhruva
KritiSari EvvarammaSyama ShastriMisra Jhampa
KritiDevi Sri KamakshiSyama ShastriMisra Chapu
KritiUpacharamu JēsevarunnaraniThyagarajaRupaka
KritiKoluvaiyunnadeThyagarajaAdi tala
KritiUpacharamulanu ChekonavayyaThyagarajaAdi tala
KritiEnati nomu PhalamoThyagarajaAdi tala
KritiLalithe Sri PravriddheThyagarajaAdi tala
KritiAnandam AnandamayenuThyagarajaAdi tala
KritiInduka PuttinchithiviThyagarajaAdi tala
KritiNammina VaariniThyagarajaAdi tala
KritiNatha BrovaveThyagarajaAdi tala
KritiNijamaithe MundaraThyagarajaMisra Chapu
KritiNeevanti DaivamuThyagarajaAdi tala
KritiRaksha BettareThyagarajaAdi tala
KritiRama Kodanda RamaThyagarajaAdi tala
KritiSarvaantharyaamiThyagarajaAdi tala
KritiSri Narada MuniThyagarajaAdi tala
KritiSri Raghuvara SugunalayaThyagarajaAdi tala
KritiTanayuni BrovaThyagarajaAdi tala
KritiTanayande PremaThyagarajaMisra Chapu
KritiSri Kamalambayah ParamMuthuswami DikshitarMisra Jhampa
KritiLalitambikayai Muthuswami DikshitarMisra Chapu
KritiChinthaya MakandhaMuthuswami DikshitarRupaka
KritiDevi JagadeesvariMuthuswami DikshitarRupaka
KritiBalagopala PalayashumamMuthuswami DikshitarAdi tala
KritiAryam Abhayambam BhajareMuthuswami DikshitarKhanda Ata
KritiTrilochana MohinimMuthuswami DikshitarAdi tala
KritiNee PaadamulePatnam Subramania IyerAdi tala
KritiJanani Mamava (5th Navaratri Kriti)Swathi ThirunalMisra Chapu
KritiRaghukula ThilakamayiSwathi ThirunalAdi tala
KritiPalaya DevaSwathi ThirunalRupaka
KritiRamapatheSwathi ThirunalAdi tala
KritiMudhaiva YathaniSwathi ThirunalAdi tala
KritiBhavadhiya KathabhinavasudhayamSwathi ThirunalAdi tala
KritiVasundhara ThanayaSwathi ThirunalAdi tala
KritiEththanai KettaalumOottukkadu Venkata KaviMisra Chapu
KritiMundhi Varum IsayilOottukkadu Venkata KaviMisra Chapu
KritiGamana Sundara RaghavaOottukkadu Venkata KaviRupaka
KritiSatyavantarigidu KalavallaPurandara DasaKhanda chapu
KritiOdi barayya (4th Navaratnamalike)Purandara DasaruAdi tala
KritiNinnane NambidenuPurandara DasaruAdi tala
KritiBhairavi ParameshwariMuthiah BhagavatarRupaka
KritiOlaga SulabhavoVyasatirthaMisra chapu
KritiIndu Enage Govinda (Along with Raga Ranjani)Raghavendra SwamiMishra Chapu
KritiIka Nannu brovakunnaPallavi SeshayyarAdi tala
KritiSri Vishwanatham BhajePapanasam SivanAdi tala
KritiThaye Ezhai PaalPapanasam SivanAdi tala
KritiThaye BhairaviyePapanasam SivanAdi tala
KritiAttharunam AbhayamPapanasam SivanAdi tala
KritiAnjel EnruAmbujam KrishnaAdi tala
KritiSri KamakshiSpencer VenugopalMisra Chapu
KritiNee Sati EvvareSpencer VenugopalMisra Jhampa
KritiSri LalitheAnnaswami SastriAdi tala
Thiruppavai 7Keesu KeesendruLyrics by Andal, set to Bhairavi by Ariyakudi Ramanuja IyengarMisra Chapu
PadamRama Rama Prana SakhiKshetragnaAdi tala
PadamMundativale NapaiKshetragnaTisra Triputa
PadamVelavare Umai ThediGhanam Krishna IyerAdi tala
PadamMathe Avar SheidhaGhanam Krishna IyerRupaka
PadamInimel AvarukkumKavi Kunjara BharatiMisra Chapu
PadamMughathai Kaatiya DhehamPapanasa MudaliarMisra Chapu
JavaliElaradaayane KaaminiChinnaiahAdi tala
Tillana-Veene SheshannaRupaka
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Film Songs

Language:Tamil

More information Song, Movie ...
Song Movie Composer Singer
Unnai Kandu Mayangatha Ashok Kumar Alathur V. Subramanyam M. K. Thyagaraja Bhagavathar
Thiruparkadalil Swami Ayyappan G. Devarajan K. J. Yesudas
Athisaya Raagam (starting from line "Oru Puram") Apoorva Raagangal M. S. Viswanathan
Aadi Aadi Asainthal Yaar Jambulingam T. R. Pappa Bombay Sisters
Thai Thai Thakka Arul Seiy Periyar Vidyasagar Vijayalakshmi Subramaniam
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See also

  • Kumar, Ranee (23 November 2012). "How well do we know Bhairavi?". The Hindu. Retrieved 18 September 2018.

Notes

  1. Alternate notations:
    • Hindustani: S R  M P D  
    • Western: C D E F G A B C
  2. Alternate notations:
    • Hindustani:   P M  R S
    • Western: B A G F E D C
  3. Alternate notations:
    • Hindustani: S  R  M P D  
    • Western: C E D E F G A B C
  4. Alternate notations:
    • Hindustani:    P M  R S
    • Western: C B A G F E D C

References

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