just to chip in simple things. Thodi is here:
ārohaṇa : S R1 G1 M1 P D1 N1 S
avarohaṇa : S N1 D1 P M1 G1 R1 S
This scale uses the notes
shuddha rishabham, sadharana gandharam, shuddha madhyamam, shuddha dhaivatham and
kaisiki nishadham. It is a
sampoorna rāgam - rāgam having all 7
swarams. It is the
shuddha madhyamam equivalent of
Bhavapriya, which is the 44th
melakarta scale.
NATABHAIRAVI:
ārohaṇa: S G2 R2 G2 M1 P D2 N2 S
avarohaṇa: S N2 D1 P M1 G2 R2 S
The other set of ārohaṇa and avarohaṇa used is:
- 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 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.
[h=2][
edit] Elaboration and related ragas[/h]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. 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.
Ragas which have similar murchanas and/or anya swara patterns to Bhairavi include Manji, Mukhari, and Huseni
BUT MY FAV. ANANDABHAIRAVI HAS ONE ANYA SWARAM D1, AND IT IS VAKRAM AS WELL
Its ārohaṇa-avarohaṇa structure is as follows (see
swaras in Carnatic music for details on the notations used):
(
chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham)
It is a
sampoorna rāgam – rāgam having all 7
swarams, but it is not a
melakarta rāgam, as it has
vakra prayogam (zig-zag notes in scale) and uses
anya swaram (external note) in comparison with its parent rāgam. The
anya swaram is the usage of
chathusruthi dhaivatham (D2) in some phrases of the rāgam[SUP]
[1][/SUP].
It is
vakra rāgam since its
arohana is not in proper sequence. Its arohana is "sa ga ri ga ma pa da pa sa" ("ga" comes before "ri" and after "pa" comes after "da"). These two technicalities makes this rāgam
vakram but only in
arohana. In
avarohana it is normal, that is "sa ni da pa ma ga ri sa".
Anandabhairavi ragam is also a
bhashanga rāgam, since it uses more than one
anya swaram.
Anya swaram of a rāgam is the
swaram which does not belong to the
arohana or
avarohana of its
melakarta (
Tamil: thāi – parent) rāgam but it is sung in
prayogams (phrases used in
raga alapana,
kalpanaswarams).