Bhairavi (Carnatic)

Not to be confused with Bhairavi (Hindustani).

Bhairavi

Mela	Natabhairavi
Type	Sampurna
Arohanam	S R₂ G₂ M₁ P D₂ N₂ Ṡ
Avarohanam	S N₂ D₁ P M₁ G₂ R₂ Ṡ
Similar	Manji Mukhari Huseni Srimati

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).

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

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 Ṡ
• avarohaṇa: S‘ N₂ D₁ P M₁ G₂ R₂ S

The other set of ārohaṇa and avarohaṇa used is:

• ārohaṇa: S G₂ R₂ G₂ M₁ P D₂ N₂ Ṡ
• avarohaṇa: Ṡ 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.

Elaboration and related ragas

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. Syamasasthry'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. Ragas which have similar murchanas and/or anya swara patterns to Bhairavi include Manji, Mukhari, and Huseni.

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.

Type	Composition	Composer	talam
Varnam	Viriboni	Pacchimiriam Adiyappa	Khandajathi Ata
Kriti	Upacharamu jēsevarunnarani	Thyagaraja	Rupakam
Kriti	Koluvaiyunnade	Thyagaraja	Adi
Kriti	Upacharamulanu Chekonavayya	Thyagaraja	Adi
Kriti	Enati nomu phalamo	Thyagaraja	Adi
Kriti	Lalithe Sri Pravriddhe	Thyagaraja	Adi
Kriti	Sri Kamalambayah Param	Muthuswami Dikshitar	Misra Jhampa
Kriti	Chintaya Makanda	Muthuswami Dikshitar	Rupakam
Kriti	Balagopala Palayashumam	Muthuswami Dikshitar	Adi
Kriti	Aryam Abhayambam Bhajare	Muthuswami Dikshitar	Khanda Ata
Swarajati	Kamakshi Amba	Syama Shastri	Misra Chapu
Kriti	Yaro Ivar Yaro	Arunachala Kavi	Adi
Kriti	Nee Paadamule	Patnam Subramania Iyer	Adi
Kriti	Janani Mamava (5th navaratri kriti)	Swathi Thirunal	Misra Chapu
Kriti	Raghukula Thilakamayi	Swathi Thirunal	Adi
Kriti	Eththanai kaettaalum	Oottukkadu Venkata Kavi	Misra Chapu
Kriti	Satyavantarigidu Kalavalla	Purandara Dasa	Khanda chapu
Kriti	Odi barayya (4th Navaratna Malike)	Purandara Dasaru	Adi
Kriti	Olaga Sulabhavo	Vyasatirtha	Mishra chapu
Kriti	Indu enage govinda	Raghavendra Swami	Mishra Chapu
Kriti	Ikanannu brovakunna	Pallavi Seshayyar	Adi
Thiruppavai 7	" Keesu Keesendru"	Lyrics by Andal, set to Bhairavi by Ariyakudi Ramanuja Iyengar	"Adi"
Padam	Rama Rama Prana sakhi	Kshetragna	"Adi"
Javali	ElarAdAyanE kAmini	Chinnaiah	"Adi"
Kriti	Sri Kamakshi	Spencer Venugopal	Misra Chapu

Film Songs

Language:Tamil

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

See also

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