Bhairavi

[s_hari]

Hello, I am going to upload these songs to my folder in Sageethapriya.org soon. can some one help me to get more songs, like Thanayuni Brova, Lalithe, Rama Kodanda rama?

ARI-TNK-PMI_Koluvai-Thyagaraja.mp3
ARI-Viriboni.mp3
Aruna-upacharamulanu-thyagaraja.mp3
Aruna_Upacharamu_Thyagaraja.mp3
AryAM abhayAmbAM--bhairavi--tripuTa--Unknown.mp3
BM-RamaRama-Padam.mp3
Brinda-Mukta-RamaRama-Bhairavi-Aadi-STirunal.mp3
Chembai-Kamakshi-Swarajathi.mp3
DKJ-cintaya mAkanda--bhairavi--rUpakaM.mp3
DKJ-s'rI kamalAmbikAyAh paraM--bhairavi--jhaMpa.mp3
DKP-05a-Bhairavi_Raga_Alapana.mp3
DKP-05b-IkkaNannuBrova.mp3
DKP-R_T_P-BHAIRAVI-Tornto1977.mp3
DKP-RakshaBettare.mp3
DKP-Rama Rama (Bhairavi).mp3
DKP-SatyaVandraiku-SPICMacay.mp3
DKP-Viriboni.mp3
DKP-bAlagopAla--bhairavi.mp3
DKP-cintaya mAkanda--bhairavi--rUpakaM.mp3
KVN-007a-Bhairavi-alapana.mp3
KVN-007b-Balagopala_palayashu-Bhairavi-1975.mp3
KVN-Amba Kamakshi.mp3
KVN-BalagopalaPalayashu-Bhairavi-Aadi-withTani-MD.mp3
KVN-Janani_mamavameye.mp3
KVN-Keesu_Keesendru-Thirupavai.mp3
KVN-RTP-Bhairavi-ChaturvedaBuvanadesa.mp3
KVN-Viriboni.mp3
KVN-YaaroIvarYaaro.mp3
KVN_Balagopala-MD.mp3
KVN_Upacharamu_Thyagaraja.mp3
KVRamanujam-KAMAKSHI_ANUDHINAMUM_BAIRAVI_3.03MB.mp3
Kalpagam_Swaminathan-NEE_PATHAMULEGATHI_BAIRAVI_19.10MB.mp3
LGJ-Bhairavi.mp3
MDR-06a Amba Kamakshi - Bhairavi.mp3
MDR-06b Amba Kamakshi - Bhairavi.mp3
MDR-Balagopala.mp3
MDR-Viriboni-varnam-Bhairavi.mp3
MDR-bAlagopAla--bhairavi--Adi.mp3
MDR-bhairavi.mp3
MLV-Swarajathi-Kamakshi.mp3
MLV-Bhairavi-Raagam-KGS1981.mp3
MLV-Chetulara-Bhairavi.mp3
MLV-Koluvai-Bhairavi-MA1966.mp3
MLV-RTP-BAIRAVI-EnakkavarSondamadiGovindanai.mp3
MLV-Sarvaantaryaami-KGS1981.mp3
MLV-Varnam (Bhairavi).mp3
MMI-Viriboni.mp3
MMI-Yaaro_ivar_yaaro.mp3
MMI-koluvaiyunnAdE_-_bhairavi.mp3
MMI-s'rI kamalAmbikAyAh paraM--bhairavi--jhaMpa.mp3
MMI-viriboni___bhairavi_var.mp3
MMI_Thaye ezhaipal-improved-amplified.mp3
MSG-MSA-Viriboni-Bhairavi.mp3
MSS - Koluvayunnade-Bhairavi-Aadi-Tyagaraja.mp3
MSS-04a-bhairavi Raagam.MP3
MSS-04b-YaaroIvar-Bhairavi.MP3
MSS-RTP-Bhairavi-AmbaMaduraMeenakshi-MA1968.mp3
MSS-RTP-Bhairavi-Velavane-Unadu-Paadam-Thunaye.mp3
MSS-dhyAnam and viribOni.mp3
MSS-kAmAkshi-shyAmA shAstry-bhairavi-swarajathi.mp3
MSS-odi_barayya-Purandara.mp3
MSS_Bhairavi_Alapana.mp3
MSS_Enatinomu_phalamo_Bhairavi.mp3
MVS_Kamakshi-Swarajathi.mp3
MaduraiRSundar_bhairavi_rAgam.mp3
MaduraiRSundar_bhairavi_raagam_violin.mp3
MaduraiRSundar_nI_pAdamulE.mp3
Malladi-bhairavi-ragam.MP3
Malladi-ika_nannu_brova.MP3
ManasunA_Bhairavi_TiSratriputa_-by-Smt-B-Vimala
Musiri-R_T_P_Bhairavi-Thani.mp3
NSG-Pallavi.mp3
NSG-Viriboni.mp3
NSG_Balagopala_MD.mp3
Nedanuri-Kamakshi-Swarajathi.mp3.mp3
Nedanuri_ENATI_BHAIRAVI.mp3
Nedanurii_Deivamu_Bhairavi_Thyagaraja.mp3
PSIyer-s'rI kamalAmbikAyAh paraM--bhairavi--jhaMpa.mp3
RKSrinivasaMurthy_Bhairavi_Purandaradasa.mp3
Ramani-Raajam_kamaj_bhairavi.mp3
RamnadKrishnan
RamnadKrishnan-RTP-Bhairavi-Bhairavi-DharavidalitaKuvalayaDalaNila.mp3
RamnadKrishnan-RTP_Bhairavi-A.mp3
RamnadKrishnan_RTP_Mamadura-Meenakshi.mp3
SSI- Bhavathi Visvaso - Mukhari.mp3
SSI-Amba Kamakshi-MA1959.mp3
SSI-Brahamakadikina_Mukhari.mp3
SSI-Chethulara-Tyagaraja.mp3
SSI-Kaamaakshi-MA1956.mp3
SSI-Kamaakshi Amba - Bairavi.mp3
SSI-Kamakshi_Swarajathy-Kalki-1967.mp3
SSI-MSS-KSN-amba Kamakshi-Bhairavi.mp3
SSI-MSS_Enati_Nomu_Palamu.MP3
SSI_AmbaKamakshi_Bhairavi.mp3
Sanjay-RTP-BHAIRAVI-DayanideUndanDarisanam.mp3
Sanjay-Taye_ezhaipal-PSivan.mp3
Sanjay-VIRIBONI.mp3
Sanjay_YaroIvarYaro.mp3
Srividya-Bhairavi-Raagam.mp3
Srividya-Srilalithe-AnnaswamySastri.mp3
TKRangachari_Viribhoni.mp3
TNK-Viriboni.mp3
TNS-Viribhoni - Bhairavi Varnam.mp3
TNS-bAlagopAla--bhairavi.mp3
TNS_Nee Padamule_Gathiyani_RTP_Bhairavi_Adi.mp3
TRI_Odi_Barayya_.mp3
TVR_Balagopala_Bhairavi.mp3
Voleti-Sariyevvare-Spencer_Venugopal.mp3
enatinomu.ram
nityashree_Balagopala-MD.mp3
sivakumar-balagopala.mp3
sivakumar-srilalithe.mp3
songlist

[meena]

hari

check ur email for Thanayuni Brova & Lalithe

[Nandy]

Hi,

Does anybody happen to have Bhairavi Swarajathi especially with the neraval (Shyama Krishna Sahodari---) recording of Sri Semmangudi Srinivasan.

Thanks.

Nandy.

[coolkarni]

It is in that famous concert which starts with entho prema.If someone cant locate it in sangeethapriya , then i can volunteer.
The closing of the neraval is very touching.
after the last set of cascading swaras, the effect is so beautiful that Lalgudi decides not to play a response and instead closes the song.
Semmangudi then pauses and says "Play on"

What happens next is fit for the Gods.
Lalgudi takes a wonderful pause , realigns himself and gives a breathtaking response.
A concert memorable for -akhilandeswari,Siva Siva Ennarada,too

[RaviVeda]

It is in that famous concert which starts with entho prema.If someone cant locate it in sangeethapriya , then i can volunteer.
The closing of the neraval is very touching.

http://www.sangeethapriya.org/~gvr/SSI_ ... s/SSI_LGJ/

[Nandy]

Thanks Coolkarni and Raviveda.

Nandy

[Nandy]

Coolkarni,

The way Sri Semmangudi sang the neraval and kalpana swarams, I want to keep on listening to it. The effect truly is so beautiful.

[sshankar_1970]

While Balagopala , Kamakshi swarajati and Enadi Nomu are truly mindblowing , Upacharamu by Maharajapuram Santhanam is equally good . But I feel nothing can beat the Viriboni varnam . There was an LP of R.K Suryanarayana playing Viriboni -truly mindblowing . Also , one must listen to N Rajam and Sangeetha Shankar playing Viriboni - (yes.. they have given a commercial recording of Carnatic Music ) simply superb..

[V_ANNASAMY]

The great ShyAma Saastrigal's kriti SaRi yavaramma in Bhairavi is majestic and captivating. The swarAkshara + tAra stAyi - commencement of the pallavi takes to a divine world instantly. Some uncommon theme.

Of course, this kriti has more swarAksharAs in many places.

The beauty of paa da ni 'dapmaama'(fast phrase) for parama pAvani in anu pallavi is truly attractive and rightly brings out the Bharavi essence.

Normally most of pallavis start at madhya stAyi and anu pallavis may start at tAra stAyi. This kriti is quite contrary and pleasingly different.

One more, but not the least, the very different tAla (KhanDa Jampa), which is very rare!

This song has both rAga as well as composer mudhrAs. Chitta swara + sahityam for that too...

So there is no SARI nihar Bhairavi kriti to this SARIYAVARAMMA.

va

[vs_manjunath]

While Balagopala , Kamakshi swarajati and Enadi Nomu are truly mindblowing , Upacharamu by Maharajapuram Santhanam is equally good . But I feel nothing can beat the Viriboni varnam . There was an LP of R.K Suryanarayana playing Viriboni -truly mindblowing . Also , one must listen to N Rajam and Sangeetha Shankar playing Viriboni - (yes.. they have given a commercial recording of Carnatic Music ) simply superb..

What about " Koluvvaiyya" sung by the great MMI. His swaras @ ' manasu' no body can beat it!!!

[sshankar_1970]

MMI was indeed exceptional in Koluvai but the song itself is not my favourite . MMI 's swaras @ Manasu are of course incomparable

[gva1992]

How to listen to the songs listed above by Mr. S Hari? Since I am a new member to this forum, would appreciate guidance.

gva1992

[Shyamalajr]

Bhairavi is one of the most majestic and stately ragams in CM. One of the lesser known ( sung!) krithis is 'Lalithe sripravrithe' in Bhairavi that is part of the Lalgudi Pancharatnam composed by Sri Thyagaraja.

[Sreeni Rajarao]

I wish Karnataka based artistes would render "indu enage gOvinda ninna padAravindava tOro mukundane" in concerts and popularize it.
This is believed to be a composition of Raghavendra Swami.
There was a movie version of the song in mid-1970s, rendered by S. Janaki (I think) which was quite good.

[PUNARVASU]

Bhairavi is one of the most majestic and stately ragams in CM. One of the lesser known ( sung!) krithis is 'Lalithe sripravrithe' in Bhairavi that is part of the Lalgudi Pancharatnam composed by Sri Thyagaraja.

I think the song is 'lalitE shree pravrudhdha '

[divyathaarun]

can somebody please give me the meaning for the javali - Elaraadaya kamini in ragam bhairavi

[swami61]

The famous renderings in Bhairavi I have listened are:
1. Koluvaiyunnade - Madurai Mani Iyer
2. Tanayuni brova - John Higgins Bhagavathar
3. Upacharamuje - Dr K. J. Yesudoss

I keep listening to them again and again . Koluvai by MMI is simply superb! You will feel as if you are riding in a horse while listening the kalpana swara part of the kriti.

Swaminathan S

[coolkarni]

..

[srinivasrgvn]

Every carnatic music rasika has to listen to this rendition of "Viri Bhoni" by Smt.M.S.Subbulakshmi!!
What a fantastic version! One of the best, clearly!!
Please listen:
http://www.youtube.com/watch?v=NtayQial ... re=related

[sarang]

Regarding the esnips website from coolkarni!

Did any of you get to hear MLV's amruthavarshini RTP??

And now about the thalam of the same! My observation is that it is in Kanda Jathi Eka thalam, pancha nadai -2 kalai (Is that called Simhanandana thalam?)
Every laghu/beat is one nadai!

Tisram Chatusram Kandam Misram Sankeernam (5 beats)

Arudhi: 2 aksharams
Visharanthi: 5 aksharams

[kalyani9]

Can anyone kindly provide the swara-sahityam (notes) for "Lalithe Sri Pravruddhe Srimati
Laavanya nidhimati"?

Thanks in advance.


Dikshitar's baalam gopaalam.. is another one. Is it possible to get a recording of this kriti if anyone has sung?

[venkat1926]

was there not a song "enakkum unakkum isaintha porutham enna poruthumO" in Bhairavi. Is this from one of the sirkazhi mOver
above message is edited by me
sorry I was wrong I found this song is in Atana and by ramaling Adiyar.

[gienbee]

Who is the composer of gativErevaramma Sri kAmAkshamma in bhairavi?

-Ramakriya

This piece ion Bhairavi has been composed by my brother Sri GNB

[vasanthakokilam]

recently bumped into this varnam in bhairavi while searching for something else.
https://www.youtube.com/watch?v=slwmWdS3cGk

from a traditional Varnam of Telugu temple dancers in Raga Bhairavi Adi Tala dedicated to Lord Shiva who is addressed as Koppeshwara in Palivela, Andhra Pradesh
by Purvadhanashree in Vilasini Natyam

[SrinathK]

viewtopic.php?f=7&t=30664 - Bhairavi's different versions

The threads on mAnji to find out the differences between the two ragas - viewtopic.php?f=7&t=97

What I've personally found is that giving a greater emphasis to D2 and singing more of S R G M or phrases like RSNSR, or singing some phrases with D2 simply because they go up (and not necessarily up to S) begins to distinguish mAnji quite a bit lot from Bhairavi. Some musicians singing mAnji like to hover on the D1 on the way down like the R1 of varALi (leena gamakam). Bhairavi of course uses far more S G2 R2 although going from S to R2 directly also happens a lot - but the more you use this, the more the character of the raga stays truer to a bhairavi-ish feel.

The thing is that in many AlApanAs of bhairavi, once musicians get to the upper octave, they tend to emphasise D2 a lot and ignore the S G R, especially in brighas and you can distinctly feel the raga change character and sound more like kharaharapriya at times. This is actually more mAnji than bhairavi. It is quit possible to avoid this with just a bit more care in phrase selection and keep the bhairavi feel all the way to the topmost notes.

Hovering more on M1 in the sense of S R G M phrases like kharaharapriya suddenly makes it feel more mAnji while climbing up to P in the sense of S G R G M P with the trademark kampita on the M1 is all bhairavi. The more plain notes you sing (particularly G2 and N2), the more mAnji it becomes, the more kampita you give, the more bhairavi it is.

There is an interesting thing in bhairavi at slow speeds in that, if you hide the D2 on the ascent and start the N2 from D2 - you can actually sing P, N, S. Or I should write it as P (D)N, S, -- You can't do that at higher speeds. This is a phrase that occurs at the start of koluvaiyyunADE (a subtlety that TMK pointed out long back). Another variation of this is a P D1 -(D2)N, S (stop at the D1 and start N2's kampita from D2) - that hides the D2 and make a P D1 N2 S sequence possible at slow speed. This is possible in bhairavi, but one has to very subtly observe the classic gamakas to identify this.

Otherwise there really is no difference between the two. mAnji does seem to have a shorter range overall than bhairavi - at times you think it's a rAgini to bhairavi. Doubt over the nature of these 2 ragas seems to have existed even before the trinity, and it looks like they had different opinions over it.

Unless of course, bhairavi was all D1 at one point. Which is what TMK claims about the Dikshitar school's version of bhairavi.

Ok, speaking of Dikshitar - listen to this exquisite bhairavi treat by MLV of bAla gOpAla - that AlApana is incredible : https://soundcloud.com/user461654480/ba ... shitar-mlv

[SrinathK]

And here's koluvaiyunnADE - by MS Amma :-
https://www.youtube.com/watch?v=QWmzd7GG4W8
https://www.youtube.com/watch?v=BKOqXCagwKA

If bAla gOpAla was the king of slow speed bhairavi, koluvaiyunnADE is the speed king. Doing neraval at manasu ranjilla is absolutely a real manasu ranjilla.

And of course, Madurai Mani Iyer (with Lalgudi Jayaraman and Vellore Ramabhadran) - https://www.youtube.com/watch?v=jSDetm-V3CY

I so wish TMK would sing this again now - last decade it used to be his USP piece, that is until he slowed down to a crawl.

[SrinathK]

A 20 min rAgA AlApanA by Lalgudi Jayaraman :- https://www.youtube.com/watch?v=TE5dfPPYTcE - from Lahari Instrumental's music channel

It's part of an RTP, which itself is from a live LGJ Concert. The Album is titled Bhairavi Pravaham.

And speaking of RTP's there's that famous one by GNB, Chowdiah and CSM : https://www.youtube.com/watch?v=pDTD_PTrNzc - his voice was in dangerous form that day, full 3 octave range all the way to the mangaLam.

https://www.youtube.com/watch?v=xVpujPQB3ls - same pallavi, but this time with LGJ and PSP. Just observe the difference between LGJ as an accompanist and as a soloist.

Honestly, I donno what more is left for us after GNB's done with it.

[SrinathK]

And to contrast, here's Semmangudi singing his Ragam Tanam Pallavi in bhairavi :- https://www.youtube.com/watch?v=C1c_Z8vfUL4

The part where he has to admonish his audience to be silent, and when the mic feedback plays truant....

Now even I haven't had time to fully listen to these old recordings. Each one such a distinctively different style. Let me do so right now...

[RSR]

For me, there are just two songs in Bairavi that bring out the best of the ragam .
1) 'yaaro ivar yaaro ' by Smt MS in a sweet voice.
'chandrabimba muka malaraale' ......( pre-1950 record)
https://sites.google.com/site/homage2ms ... ivar-yaaro

2) and a slightly later bairavi varnam. of scholarship and rendering sweetmess
https://sites.google.com/site/homage2ms ... ravi-ragam
==================================================
It beats me how anybody can think of natabairavi in the place of bairavi!
They are so very distinct1

[SrinathK]

And if anyone is wondering why I didn't put chEtulAra here, this is why.

viewtopic.php?f=2&t=32510&start=25#p347959

Semmangudi mama's version is all naTabhairavi - he did not sing it in bhairavi.

The "bhairavi" version blindly replaced all the ascending D1s with D2s (even where we should use D1 in bhairavi!). But if you look closely, it doesn't use any of the trademark bhairavi phrases and treats some notes differently as well. Lots of unusual plain notes.

The sangatis are also too linear. This unusual treatment is what we expect for a sampUrna rAga than a raga like bhairavi. Actual bhairavi kritis like upachAramulanu or koluvaiyunnADe or EnATi nOmu phalamo are quite different in their phrasing.

In fact I'd go on to say that the "bhairavi" version of chEtulAra is not even bhairavi at all, it's mAnji through and through!! That RNS,-R alone would have told me. This is one of the best examples to show the difference between mAnji and bhairavi. When I come to mAnji and naTabhairavi on the ragas page, I swear I will absolutely put both versions of this song under both of them and not bhairavi!

That itself ought to tell you that this is actually supposed to be in naTabhairavi.

Instead do listen to upachAramulanu and EnATi nOmu phalamO & hear it for yourself :- https://www.youtube.com/watch?v=YaT93J75SSc - upachAramulanu
https://www.youtube.com/watch?v=oNw6VRldLmk - EnATi nOmu.

THIS is bhairavi.

And this is mAnji :- https://www.youtube.com/watch?v=VSsoTu98gTY
https://www.youtube.com/watch?v=E68_4nDScC8

[RSR]

Yaaro Ivar Yaaro by D.K.PattammaaL...
vintage classic record.
https://sites.google.com/site/dkpattamm ... -yaro-ivar

[shankarank]

Switching threads now to the appropriate one

....there are ragas that also use 2 or more variants of other notes like ... bhairavi, It just goes on...

Historically such tunes are inspired by folk music where the rules are less rigid, lakshya dominates and the emphasis is more on the impact created by a tune and its variations, and the ability to express contrasting moods, which can eventually grow and settle into a distinct raga.

Prof. SRJ termed rAgA bhairavi as one the priciest possessions of Carnatic music which no other system of music has anything equivalent, in his Columbus Ohio Lec dem - 2002/3 or so.

Now this doesn't sound like a creation of some random walk system that stumbled on this after centuries of trying. We cannot speculate on rishi mUlam, nadi mUlam. But Bhairavi (there could be other examples like bEGaDa , Kambodhi - I may have to check it out carefully!) embodies the grand principle of a "rAgA" in Bharatiya sampradAya sangIta , which Hindustani music seem to keep a good retention of ( again my general observation!).

Whether it arose from a known lakshaNa text or not, it brings forth a principle like no other.

Sri M Subramaniam's paper in music research site on implied samvaditva of gamakas is a good place to draw a principle around this. More than gamakas and phrasing, even as just pure notes, it compensates the inadequacy of naTabhairavi scale and karaharapriya ( ok let me grant temporarily a rAgA status! ).

We seem to think gamakas were less before, but early recording time constraints and high pitched renditions of "public performer" musicians placed a lot of limitation in the music , that we know off of 78 rpms.

Even so in pedagogy , gamakas would have been taught only slowly, then in which case for a sampradAyic music, pedagogy mostly influences renditions more than the individual pursuit of musicians themselves, in private singing. We seem to only consider available public records with aforementioned limitations, where we don't have recordings of teaching sessions and leisurely music of the all nighters and chamber music.

I am writing this based on bhairavi vaRNam , that I have learnt. The gamakas in all their shapes need a closer look (using your formal terms). I am making again general observations below.

On the ascent sa-ga-ri-ga-ma, ma has a gamaka - almost ri-ma-pa with ga only fleeting. To match it d2-ni-sa has n2 ornamented where there is good spacing on the up side to sa. d2 provides the matching start node to r2.

On the descent N2 and d1 are ornamented to land into Pa . Matched by m1 , g2 both ornamented - where g2 now has a prominence due to landing into R2.

samvAdi principle - here "ma" relationship. But ain't bhairavi vARNam and Sri SyAmA Sastrigal's svarajati start on the lower octave. So it is a full "pa" relationship from that perspective.

Also mutual consonance of spaced neighboring notes as per the direction ( ascent/descent) is also assured by bringing in d1 on descent. It is not a quite blind shot. Nature is helping a lot. It sounds like a well conceived rAgA, even if it was not crafted by force.

Some people (amateur singers I have heard in home events , with visiting musicians) try to start svarajati on the upper octave and come down. I guess this a reason not to do that and get the lower register to speak!

[SrinathK]

Based on what I know now, I need to rewrite many other ragas from A-D. Bhairavi especially. There is so much to write about it. I have to rewrite the whole thing.

I have now gone through the entire viriboni varnam with anubandham and the third chittaswaram. It is mind boggling what all you can do with every note of this varnam. It is the crown of varnams.

Bhairavi was a very heavy raga even at that time, in fact with a few more possibilities.

[nAdopAsaka]

with reference to shankarank's careful delineation of ascent phrases in the Viriboni varnam, I observe that Dikshitars majestic bAlagopAla also develops its ascending opening along these lines.

It is recorded that P. Adiappaiah, (the guru of SyAma sAstri) , created the Viriboni varnam and was also a veena player ? (and so inspired the ambA kAmAkSI swarajati and Dikshitar)

bAlagopAla is perhaps the only kriti (of 400-500) where Dikshitar uses the description "vAinika gAyaka"..

It is not clear whether Dikshitar is using this to refer to the Viriboni varnam/P. Adiappaiah....or his own skills..
or the Veena's capability in extracting key defining gamakas for this Bhairavi .

All the other major Dikshitar Bhairavis carry the Bhairavi mudra rather clearly but in bAlagopAla only some
vague phonetic clues to the mudra are given (if that) , "nata bh-usura" or "puravairi"

[SrinathK]

It is recorded that P. Adiappaiah, (the guru of SyAma sAstri) , created the Viriboni varnam and was also a veena player ? (and so inspired the ambA kAmAkSI swarajati and Dikshitar)

bAlagopAla is perhaps the only kriti (of 400-500) where Dikshitar uses the description "vAinika gAyaka"..

It is not clear whether Dikshitar is using this to refer to the Viriboni varnam/P. Adiappaiah....or his own skills.

Where did you get this info from? Or are you just speculating again?

[nAdopAsaka]

historical stuff is from TKG book/s, Karnatik.com

reasonably certain there is no other vAinika-gAyaka reference by dikshitar....although veena-gAna appears in saraswati vidhi yuvati

[shankarank]

Very few kritis even start in the lower tetrachord. in the sa-ga-ri-ga

It would be interesting to see the notations of EnATI nOmu. When I slow down https://youtu.be/oNw6VRldLmk?t=829, I hear something like SRNS g,,R where there is a point being made by touching N2 on the lower octave.

MSS there starts the Alapana in the lower octave as well. Dwelling in the lower register emphatically establishing a solid base. This is NOT always the case and I have heard the standard ArOhaNa start with SGRG with some stalwarts too- not quite effective.

upcAramu starts in higher zone! tanayuni in upper tetrachord in middle octave. bAlagOpAla similar to EnATi touching a lower note.

The concordance between the vakra SGR2G and usages PND2 or MD1P capture a M1 and P relation nicely as well!

P:S #86 ->veena-gAna appears in mInAkshi mEmudam as well.

[Subhadra Balaji]

Hi i am new to this board, but i have been learning music since i was3 1/2. Bhairavi, in my opinion is a very challenging yet, extremely enjoyable raga. Some of the best songs are in bhairavi, Upacharamu jesevarunnarani maravakura, enati nomu phalamu, Ikanannu Brovakunna. Aside from these Thyagaraja compositions, there is the exceptional swarajathi by Syamashastri, Kamakshi. There are several rare ones, like Raksha Bettare doraku and Chetulara sringaramu jesi that are an absolute delight to encounter, because not only are they perfect rhythm and tune wise, but the meaning is splendid! Thanks for giving me a chance to express the beauty of Bhairavi

Oh yes Kamakshi is a very beautiful swarajathi. and the one that balamurali krishna has sung, brings the song to life. i cannot agree more !

[shankarank]

http://www.aradhana.org/sampradaya/2012 ... riboni.zip

In that lesson recording Dr. Ritha Rajan sketches out a brief history of this rAga, where it picked up phrases from Manji.

However the old Bhairavi with mostly using D1, that she teaches in the recording, the ascent N2 from d1 , the oscillation on N2 will sound out D2 - N2D2N2 invariably - which was anyway allowed in the old Bhairavi.

She also mentions with cEtulAra, Bhairavi was sung with D1 by SSI. So there was an old Bhairavi version apart from naTabhairavi?

[sam]

janyam of mELam 20 naTabhairavi.

http://carnatica.net/special/abhayamba3.htm

ArOhaNam:
sa ri ga ma pa dha ni Sa (also sa ga ri ga ma pa dha ni sa)
avarOhaNam:
Sa ni dha pa ma ga ri sa.

Even though it is a sampUrNa-sampUrNa (7 - 7) rAgam, the difference between bhairavi and its parent mELam naTabhairavi comes from the usage of an "anya" svaram (external note), thus making bhairavi a bhASAN^ga rAgam.

Notes taken are catushruti ri, sAdhAraNa ga, shuddha ma,
both shuddha and catushruti dha,
and kaiSiki ni..
Note that both shuddha dha and catushruti dha are present, the latter appearing in the ArOhanam as an anya svaram.
.
No doubt, bhairavi gets its beauty by the presence of this extraneous note. Catushruti dha occus in phrases pa dha ni Sa; pa dha ni Sa Ri; pa dha ni dha ni Sa. and so forth.
In the phrase pa dha ni dha pa, both dhaivatams are featured,
the first dha is catushruti dhaivatam, and the second one is shuddha dhaivatam.
The chAya svarams are ri, ga, ma and ni; The nyAsa svarams are ri, pa, ma and ni;
The notes ri, ga, ma, and ni occur as kampita svarams. Usage of jaNTa, and dATTU prayogams add beauty to this rAgam. The phrase sa ga ri ga ma; ri ma gA ri sa; pa dha ni dha mA; ma pa gA ri sa, etc brings out the rAgam colorfully.
Bhairavi is a rakti rAgam, that gives ample scope for detailed AlApana.

bhairavi is an ancient rAgam that can be traced to the SaDja grama, and the kaishika paNN of the tEvAram hymns.
This rAgam is mentioned in saN^gIta ratnAkara, saN^gIta makarandam, and saN^gItasamayasAra.
It is the ninth meLam among the ninteen prasiddha meLams mentioned by Venkatamakhin.

bhairavi lends itself to all sorts of compositions due its impressiveness, but I have not seen a tillAna in bhairavi. For pallavi expositions, bhairavi is a prominent candidate.

All the members of the trinity have contributed generously to bhairavi.
We have k.rtis of dIkSitar"

bAlagOpAla,
cintaya mAkandamUlakandam,
devI jagadIshvari,
lalitambikayai,
shrIkamalAmbikayaH param", and "
trilOcanamOhinIm",
.....
Tyagaraja has his share of bhairavi in the
18 compositions of which the popular ones are:
"
upacAramu je sevva,
upacaramulanu,
enATi nOmu phalamu,
koluvayunnaDe,
tanayuni brova,
nIvaNTi daivamu,
rakSa beTTare,
rAma kodanDarAma,
lalite shrIprav.rdde,
shrInAradamuni,
shrIraghuvara".

On the other hand
, shyAma sAsrti, who excelled in Anandabhairavi has only three compositions in bhairavi,
the ever popular
svarajati "kAmAksi anudinamu
the gItam "maRavakane,",
and the k.rtis
"pArvati janani bhavAni",
and "sari yevaramma".

SvAti tirunAL mahArAaja has composed a large number of songs in bhairavi that include "jananI mAmava" (navarAtri k.rti), "ambhOjanAbha mAm pAlaya", and "vasundharAtanaya".

The crowning jewel among bhairavi compositions is indeed the aTa tALa varNam, "viribhoNi",
elegantly penned by paccimiriyam Adiyappa, In the endless list of songs in bhairavi, the following are popular - "nI pAdamule" (Patan subrahmanya iyer),

"shrI pArthasArathe" (Mysore Sadashiva Rao),
"yArukku ponnambalam" (Gopalakrishna Bharathi).

There are numerous padams by kSetraj~na and Ghanam Krishna Iyer, and the famous taraN^gam, "jaya jaya gokula bAla" (Narayanatirtha),
The rAma nATaka song "
yArO ivar yAro" by aruNAcala kavi, set originally to sAvEri, is sung these days in bhairavi.

This is my humble attempt to present about 20 youtube songs in Bhairavi raagam
Bhairavi is janya raagam of
Mela.Natabhairavi..
Mela.Natabhairavi..
.HM notation
S R2 G1 M1 P D1 N1 P
....
Bhairavi uses both D1 and D2
So it is bashanga raagam.

Type..Sampurna..it has all the notes
Cm notation
Arohanam..S R₂ G₂ M₁ P D₂ N₂ Ṡ
Avarohanam..S N₂ D₁ P M₁ G₂ R₂ Ṡ
Similar..Manji,,ukhari,Huseni
......
Bhairavi
1
Purandaradasa

Odi Baaraiyya

M S Subbulakshmi - -

https://youtu.be/i6MdAfHfo64?si=amZHm_qjiPKLdiLU
....
2
Pacchimirium Aadiappiyer’s
Viriboni Bairavi varnam in ata talam.

What is so special about this varnam?
Lot of suddha dhaivatam D1 usages is seen in this varnam and

this varnam beautifully show cases Dasavidha gamakas - Kampita, sphurita, tripuscha, pratyaahaata, nokku, etrajaru, erakkajaru, odukkal, orikkai, khandippu

in the Anupallavi there is a special reference to beauty of the Mannargudi Sri Rajagopalan
(sarasudau daksina dwāraka sāmi śrī rājagōpāla dēva)

"Viriboni- Bhairavi-
MS Subbulakshmi-
KS Narayanaswamy- Veenai"

https://youtu.be/gq-rp_Y7980?si=K_ZxyzRzyWyRpPTn

MS Subbulakshmi
Viriboni Bhairavi RaagaVarnam"

https://youtu.be/NtayQialsJM?si=0RKi_MjB55epFqIC
Special....lyrics in comments
..............
3
Kshetragna’s Padam –
Rama Rama Pranasakhi

T Brinda & T Muktha"

https://youtu.be/rfUUN2z7dlA?si=qfoJ-mmqfpLdz7TP

4
Indu Enage Govinda - Bhairavi

Composer... Sri Raghevendra Swami
- Bidaram Krishnappa" .

78 rpm

This is the probably the earliest version of this song. Listening to this song in the voice of Bidaram krishnappa is certainly a rare treat.

Disc Courtesy: Sunny Mathew

https://youtu.be/VxokHfKKxj8?si=Rra_m-m967R-KweO

5
Shyama sastri
Kamakshi swarajati - Bhairavi
MS Subbulakshmi - radha viswanathan-

Thanks to.vaak.

https://youtu.be/_HtT6-bU7oE?si=9toVC0qH5xdul9RF
https://youtu.be/_HtT6-bU7oE?si=e0jqLEnuzUTIxoul
.......
6
Shyama Shastri
Sari Evaramma
DK Pattamal- - - "

https://youtu.be/Izl5XpANzzs?si=J8dWZnGNozas9KKm

....*****************************************
THYAAGARAAJA SWAAMI

7
. Lalithe Sri Pravriddhe "

Lalgudi panccharathnam

Voleti Venkateswarlu"

https://youtu.be/GIcnK47y44g?si=iSRpC_7ChAsRXMUh.

Lalite Sri Pravruddhe -

Lalgudi Panccharathnam kruthi
Bhairavi - Adhi -

Sudha Ragunathan


https://youtu.be/27zkE1QjI9g?si=ARYGeOpoHsjy3zl6


"Lalithe -
Lalgudi G Jayaraman

https://youtu.be/wZ9mQ4mi0rA?si=2F4aRAP-846H3ceZ
.

"Lalgudi Pancharatnam 02 -
Lalithe - Bhairavi_
Lalgudi Jayaraman and Srimathi Brahmanandam_.

https://youtu.be/FeUWUyAadCo?si=1hZP0rU3i6o3WpUS

8.
ThyAgarAJa

Upacharamu Jēseva runnarani

ML Vasanthakumari-- .

https://youtu.be/aAJLR8OMMZA?si=N3_aSOy8cgOjTz05

9.
b]ThyAgarAJa[/b
Koluvaiyunnade

M S Subbulakshmi -

Koluvaiyunnade - Bhairavi (1 of 2)"

https://youtu.be/QWmzd7GG4W8?si=oSsLkIyPXSs2Qkse

- Koluvaiyunnade - Bhairavi (2 of 2)

https://youtu.be/BKOqXCagwKA?si=bUt53KauZTUlul-H

10.

Upacharamulanu Chekonavayya

Maharajapuram Santhanam

https://youtu.be/YaT93J75SSc?si=VCWbFcrgUHy64WRG


11.
ThyAgarAJa

Enati nomu Phalamo

M.S.Subbulakshmi

https://youtu.be/CIQwo28Utt0?si=t-etbol3tF7lhSO3

12.

ThyAgarAJa

Raksha Bettare

DK Pattammal-


https://youtu.be/saFe0yxTIBM?si=GUdPjWBSid5qeU6s

13.
ThyAgarAJa

Tanayuni Brova

KV Narayanaswamy"


https://youtu.be/oRqs50qkD8k?si=kPnc48cOfr0j2Xnd

14
ThyAgarAjaa

.Rama Kodanda Rama

Divya NAma keerthanam

Bombay sisters

https://youtu.be/-L0yzuh1CQE?si=PMzE-abWkyL7ltlR

15
ThyAgarAjaa

.Neevanti Daivamu

Radha-Jayalakshmi

https://youtu.be/VvYHtPbTJko?si=xL1yTGDHtOKT4JM-

.
.........


MUTHUSWAMI DIKSHITAR



Muthuswami Dikshitar’s compositions in Bhairavi raga, part of the 20th Melakarta (Natabhairavi) janya, are characterized by slow, majestic, and intricate phrasing, emphasizing the raga's depth. Key kritis include the popular Balagopala Palayashumam, Chintayama/Chintaya Maakanda (Panchalinga sthala), Devi Jagadeesvari, and Aryam Abhayambam Bhajare.

16

shrI kamalAmbAyahA param -

bhairavi -

Madurai Mani Iyer.

https://youtu.be/8uU4LHtcxKU?si=B_E83qZSZd6RCAYy

.17

[b]Balagopala[/b]

DK Pattamal-

- Bhairavi-

https://youtu.be/bj__OHh9n_g?si=bb9AwJsDyvoUS_el

Balagopala

DK Pattamal -DK Jayaraman"

https://youtu.be/Y4zPNvFeuiY?si=-VZvsL1ZFO9KjvtZ

.

Cintaya Makanda-

Bhairavi- Rupakam-

18

Chintaya Maakanda -
Bhairavi -

D. K. Pattammal"

https://youtu.be/FDnauIvBEnw?si=QMGDiRlivjXu5vT-

DK Jayaraman"

https://youtu.be/5ODXWRe_OPs?si=ir3qyn4RfJnbxjk

O

Chintaya Maakanda | Bhairavi
| Panchalinga Kshetra Kriti |
D.K. Jayaraman"

https://youtu.be/MCAT00yHpK8?si=VErG0-D_Hb9b0xLu.

19
dEvI jagadIshvarI
Neela Ramgopal -
- bhairavi -
https://youtu.be/XgiLZ0u_Hss?si=-FC4Qe34X3NEu_sB
..
20
AryAm abhayAmbAm bhaja

Kalpagam Swaminathan -veeNA
-
bhairavi -
Abhayamba-02"

https://youtu.be/RFZDRgS-JDo?si=yycedOR4o8BBMyaV.

21
arunaachala kavi
"M S Subbulakshmi
'Yaro!Ivar Yaro!!'
.
https://youtu.be/7uKowS1SsyU?si=Zoe9SE49LsvbCpPi

.

[sam]

Upachaaramj jeseva unnaru

Just because (ani) there are people (unnāru) to render (jēsevāru) service (upacharamu) to You, please do not forget me (maravakurā)". In this song, Tyagaraja pleads with Lord Rama not to ignore him just because He is already surrounded by devoted attendants like Lakshmana, Bharata, and Hanuman


Kovuvaiyunnde
focuses on Lord Rama sitting in his darbar with Sita by his side, likened to the moon paired with the star Rohini..

Upacharamulanu Chekonavayya
Please accept my humble services/offerings (Upacharamulu), O Lord Rama." In this composition, Tyagaraja expresses deep devotion by listing various ritualistic services he wishes to perform for the deity, such as:
Offering a golden throne.
Offering fragrant flowers and incense.
Waving the fly-whisk (chamara) to keep the Lord cool....

Enati nomu Phalamo

This kriti is part of the dance-drama Prahlada Bhakti Vijayam, where Prahlada expresses his ecstasy upon seeing Lord Vishnu.
.The devotee asks what past austerities or acts of charity have granted him the supreme blessing of seeing the Lord.

Raksha bettare doraikku.
The song is a plea for protection (raksha), typically addressed to the deity. It is often performed during "Dhrishti Parikaram" (warding off the evil eye
.
Thanayanu
The song is a beautiful series of rhetorical questions and analogies exploring the relationship between a devotee and the Divine:
Pallavi: Does a mother need to be told to protect her child, or does the child have to go to the mother?
Anupallavi: O best of the Sun dynasty! Tell me this secret and show me Your face.
Charanam: Does a cow go after its calf? Do crops look for clouds? Does a lover seek the lotus-eyed one? O Rama, praised by Tyagaraja, please come and tell me...
.........

[sam]

A few more gems

Bhairavi -
Raga alapana and Ragamalika Pallavi -

T N Rajarathinam Pillai" .
https://youtu.be/OX52TDemy2Q?si=wfXgtoNoIaPhmFmB

Vintage voices of Soutb India

These are two rare records recorded by Odeon featuring Nadaswaram Chakravarthy T. N. Rajarathinam pillai's recital. He plays the bhairavi alapana followed by a Ragamalika pallavi. He plays the ragas Bhairavi, Attana, Neelambari and Bhoopalam in the pallavi. Released by Odeon in the year 1938.

Chintaya Maakanda - Bhairavi - D.K.PATTAMMAL
https://youtu.be/FDnauIvBEnw?si=lfejjZQQb-lj6_W9
D. K. Pattammal"

[sam]

A few more.
Parvati Janani
Shyama Shastri Kriti-
Bhairavi- kanda Chapu
-Vedavalli
.
https://youtu.be/ozGih-oEH0Q?si=GYYIPBHBCLcZYKBL
.
....
Innum Paramugam En Murugaiyyane -
Bhairavi -
M. S. Subbulakshmi"
Vintage 78 rpm

.https://youtu.be/DKE5pNvmCxg?si=F3esZyz4cj4ruiln

"Chintaya Maakanda -
Bhairavi -

D. K. Pattammal"
.
https://youtu.be/FDnauIvBEnw?si=lfejjZQQb-lj6_W9
.

Aryam Abhayambam Bhajare -
Bhairavi - Ata Tala -
Dikshitar -
Nisha Rajagopalan"
.
https://youtu.be/gpxLLwDpnbI?si=XBuNkPqN8KuEcAaf
.