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Last updated: 02/27/2017 10:54 AM
Bhairavi ~ Karnaatik(Carnatic) ~1

 Bhairavi in the Carnatic Padhati is ancient and highly sung /deeply explored Raagam! 

I had never sung this Raagam ( almost~) ~

I had  heard/ learnt from many great masters, consciously/unconsciously ~never fomally 

When I went to Uttar Pradesh and when I was travelling from Jhansi to Lucknow ( by road ) Bhairavi, just invaded me!!.

It would not leave me ~ It was as if other Raagam-s were clamouring for attention!!

I request the  listners incognito  to be a little patient  ( kindly ) and let the Ragaam unfold into your inner Being ~

Bhairavi (Carnatic)

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, and hence is not classified as a melakarta rāgam (parent scale).

This is one of the ancient rāgams, said to have been prevalent about 1500 years ago. There are numerous compositions in this rāgam.

[edit] Structure and Lakshana

Parent scale Natabhairavi with shadjam at C

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 S
  • avarohaṇa: S N2 D1 P M1 G2 R2 S

The notes used are chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham & shuddha dhaivatham and kakali 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.

[edit] Popular Compositions

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.

Varnam Viriboni Pacchimiriam Adiyappa Ata
Kriti Koluvaiyunnade Thyagaraja Adi
Kriti Upacharamulanu Thyagaraja Adi
Kriti Enati nomu phalamo Thyagaraja Adi
Kriti Chintayama Kandha Muthuswami Dikshitar Rupakam
Kriti Balagopala Muthuswami Dikshitar Adi
Kriti Yaro ivar yaro Arunachala Kavi Adi
Kriti Indu Enage Govinda Raghavendra Swami  
Kriti Nee Paadha Patnam Subramania Iyer  
Swarajati Kamakshi Amba Syama Shastri Chapu
Gallery Elements
Bhairavi ~1-1 ~
Bhairavi ~1-2 ~
Bhairavi ~1-3 ~

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