Transcript Raga bhairav

Raga bhairav
• Bhairav, or Bhairon, is a raga in Hindustani classical music .
• Its modern form with an important komal rishabh is, however, very
different from that described in the old texts.
• Bhairav has its name from Bhairava, an incarnation of Shiva, and
was historically associated with glory and awe, but became
identified with peace and devotion.
• Raga Bhairav is sometimes linked to raga Bhairavi via Bhairavi's
association with the consort of Bhairav (as aspect of Shiva) of the
same name; Hijaz Bhairav is an example of this.
• There are several allied ragas such as Ahir Bhairav, Bairagi,
Gunkali, Hijaz Bhairav, Nat Bhairav, Ramkali, Jogiya and Kalingda.
• This raga corresponds to Mayamalavagowla in Carnatic music.
Raga bhairav
• Aroha: 'N S G M P G M, P G M (N)d, G M
(N)d, (N)d N S'
• Avroha: N S' (N)d N d P, P G M P G M (G)r
S
• Vadi: Dha
• Samvadi: Re
• Time: early morning
Raga Bhairavi
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Arohana & Avarohana
Arohana
Sa, Komal Re, Komal Ga, Ma, Pa, Komal Dha, Komal Ni C, D♭, E♭, F, G, A♭, B♭
Avarohana
Sa, Komal Ni, Komal Dha, Pa, Ma, Komal Ga, Komal Re C, B♭, A♭, G, F, E♭, D♭
Pakad or Chalan
Komal Dha - Komal Ni - Sa
Sa - Komal Re - Sa
Sa - Komal Re - Kali - Ma - Kali - Pa - Komal Ga - Komal Ni - Komal Ga
Organization & Relationships
Related ragas:
Bhairavi
Shuddha Bhairavi
Sindhu Bhairavi
Nat Bhairavi
Thaat: Bhairavi
Raga bhairavi
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Behavior
Behavior refers to practical aspects of the music. It is complicated to talk about this
for Hindustani music since many of the concepts are fluid, changing, or archaic. The
following information cannot be accurate, but it can attempt to reflect how the music
existed. The Performance for this raga is unusually relaxed, some musicians take the
liberty of using shuddha Re in ascent, and even the sequence Ma - Teevra Ma. These
deviations, however, are not typical of the raga. Musicians are also inclined to
sometimes avoid Pa in ascent.
Samay (Time)
Bhairavi is an early morning raag.But it is also used as a concluding piece and as
such has been performed even at night,but always in semi or light-classical
rendering.If one has to sing or play bhairavi as a main piece it has to be in the
morning time.
Seasonality
Certain ragas have seasonal associations. But in this regard, Bhairavi may also be
treated as an all-time raga, as it is not based on the time of the year but the time of
the day at which it is sung.
Rasa
Raag Bhairavi is typically performed with a peaceful, serious, and occasionally sad
mood.
Raga khamaj
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Thaat – Khamaj
Jati - Shadav-sampurana
Vaadi-Ga
Samvaadi Ni
Time: Evening (Pratham Prahar)
Aaroha - Sa Ga Ma Pa Dha Ni Sa
AvrohaSa Ni Dha Pa Ma Ga Re Sa
Pakad - Ga Ma Pa Dha Ni Dha
Pa Dha Ma Ga
Re Sa
Ni Dha Ma Pa Dha Ma Ga
Ma Pa Dha Ga Ma Re Sa
Ni Dha Ma Pa Dha Ma Ga
Raag khamaj
• The raga has been explode more in the
lighter forms of hindustani classical music
such as thumari,tappa etc.
Raga kedar
• Kedar, also known as Kedara, is a Hindustani classical raga.
Named after Lord Shiva, the raga is placed on a high pedestal in the
realms of Indian classical music. It is characterised by a lot of
complex turns, which are brilliantly melodious but difficult to express
in words.
• Origin
• The raga emerges from the Kalyan thaat.
• Description
• The raga is of shaadava-sampurna nature, i.e., in its arohana
(ascent), only six notes are used, and in avarohana (descent), all
seven notes are used
• The raga uses only natural (shuddha) versions of the Second (R),
Third (G) and Sixth (D), both natural and sharp (tivra) versions of the
Fourth (m and M, respectively), and predominantly natural versions
of the Seventh (N) but occasionally also its flat (komal) version (n). (
m- teevra, M- shuddh)
Raga kedar
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Arohana: S M ~P, m P D n ~D P, m P S'
Avarohana: S' N D P , m P D P M~ , S R S
Pakad: S M , M P, m P m P, D P M, R S
The most prominent (vadi) note is S, and the second most prominent
(samvadi) is m.
Samay (time)
The raga is to be sung in the night. It is sung in the second prahar of night.
Mostly the Ragas with teevra ma(M) are sung at night (as per the time
theory of Ragas) Further Information
The meend from D to M via P is the heart of the raga. The G is used lightly
as a grace note in the transition from m to P. The movements in the raga
from one swara to another are quite complicated, and the extent of use of
the different swaras often depends on the singer. Kedar is an ancient raga,
with different genres of classical songs, like khayals, thumris, dhrupads, as
well as light classical songs based on it.