.svg)
Ahir Bhairav
| Thaat | Bhairav |
|---|---|
| Time of day | Daybreak |
| Arohana | S Ṟ G M P D Ṉ Ṡ |
| Avarohana | Ṡ Ṉ D P M G Ṟ S |
| Vadi | M |
| Samavadi | S |
| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri,[1] or perhaps a mixture of Bhairav and Kafi.[2]
Theory[edit]
Arohana and avarohana[edit]
Arohana: S Ṟ G M P D Ṉ Ṡ[lower-alpha 1]
Avarohana: Ṡ Ṉ D P M G Ṟ S[lower-alpha 2]
Key:
S, G, M, P, D: shuddha (natural);
r, n : komal (flat);
Pa and Sa are sometimes avoided in ascending Arohan. The descent can be direct, but is often expressed as S' N d P m, G m Gr ~ S with a slight oscillation on komal re to express the character of Bhairav.[1]
Vadi and samavadi[edit]
Vadi: M
Samavadi: S
Pakad or Chalan[edit]
S, r G M, G M r, ṇ Ḍ, ṇ r S
| komal Ni, shuddha Dha, komal Ni, komal Re, Sa | is the most characteristic run, where the Ni and Dha belong to the lower octave and the Re and Sa are from the middle octave. Some andolan/oscillation is typically at the flattened second (komal re).
Organization and relationships[edit]
It may include impressions of Kafi. The image of Ahir Bhairav is easily maintained with the characteristic passage ṇ Ḍ ṇ/r~ S[1] with the characteristic Bhairav andolan (oscillation) on komal re. Sometimes shuddha ni is used in the lower octave to emphasize the Bhairav character.[3]
The Carnatic music equivalent to this raga is Chakravakam.
Related ragas:
Behaviour[edit]
Ahir Bhairav is a typical uttarang raga, which means emphasis is on the upper tetrachord.
Performance[edit]
It is usually sung as the first Prahr of the morning, around 6:00 am – 9:00 am.
Important recordings[edit]
Nikhil Banerjee, Raga Ahir Bhairav. Multitone Records, UK Limited, 1995. LP. (Available on iTunes.)
Ravi Shankar, Three Classical Ragas. HMV, 1957. LP.
Wasif-ud-din Dagar, Chalo sakhi braj raje. Alap and Composition in Dhamar. Music Today. A97015. Cassette.[4]
Film songs[edit]
- "Man Anand Anand Chayo" (film: Vijeta)
- "Meri Veena Tum Bin Roye"
- "Ullathil Nalla Ullam" from "Karnan"
- "Puuchho Naa Kaise Maine Rain Bitaaii" Shiv Dayal Batish and Manna Dey. Composer S.D. Burman
- "Waqt Karataa Jo Wafaa Aap Hamaare Hote"
- "Ram Teri Ganga Maili Ho Gayee (Title Track)" (film: Ram Teri Ganga Maili)
- "Ab Tere Bin Jee Le.nge Ham" (film: Aashiqui)
- "Solah Baras Kii Baalii Umr Ko Salaam"
- "Albelaa Sajan Aayo Re" (film: Hum Dil De Chuke Sanam)
- "Aur Ho" (film: Rockstar)
In Tamil[edit]
| Song | Movie | Composer | Singer |
|---|---|---|---|
| Ullathil Nalla Ullam | Karnan | Viswanathan–Ramamoorthy | Sirkazhi Govindarajan |
| Vanithamani | Vikram | Ilaiyaraaja | S. P. Balasubrahmanyam, S. Janaki, Kamal Haasan |
| Vaanile Thenila | Kaakki Sattai | Ilaiyaraaja | S. P. Balasubrahmanyam, S. Janaki |
| Chalakku Chalakku | Chembaruthi | Ilaiyaraaja | Mano, S. Janaki |
| Nee Pathi Naan Pathi | Keladi Kanmani | Ilaiyaraaja | K. J. Yesudas, Uma Ramanan |
| Poonkatrae | Friends | Ilaiyaraaja | Hariharan |
| Vidu Kathaiya | Muthu | A. R. Rahman | Hariharan |
| Eechambazham | Pavithra | A. R. Rahman | Shahul Hameed, K.S. Chitra |
| Vaa Vaa En Veenaiyae | Sattam | Gangai Amaran, | S. P. Balasubrahmanyam, Vani Jairam | |
| Megangal Ennai Thottu | Amarkalam | Bharadwaj | S. P. Balasubrahmanyam |
Carnatic music[edit]
Chakravakam, the 16th Melakarta raga of Carnatic music, which is a sampurna scale (all seven notes in ascending and descending scale), closely resembles Ahir Bhairav.[5] However, in the modern times Ahir Bhairav raga has been used in a few Carnatic music compositions and many South Indian film songs as well.
Notes[edit]
References[edit]
Sources[edit]
(most) entries due to:
- Bagchee, Sandeep (1999), NĀD Understanding Raga Music, Mumbai: Eshwar, ISBN 81-86982-08-6
- Bhatkhande, Vishnu Nayaran (1968–73), Hindusthānī Sangīta Paddhaati: Kramika Pustaka Mālikā (6 vols.), vol. 5, Hathras: Sangeet Karyalaya, pp. 346–351
- Bhatkhande, Vishnu Nayaran (1968–75), Hindusthānī Sangīta Paddhaati: Sangīta Śāstra (4 vols), vol. 2, Hathras: Sangeet Karyalaya, pp. 359–376
- Bhatt, Balvantray; Bhaṭṭa, Balavantarāya Gulābarāya (1964–1982), Bhāvaranga Lahāri, vol. 2, Varanasi: Vitaraka Motīlāla Banārasīdāsa, pp. 53–61, OCLC 12918179
- Gandharva, Kumar (1965), Anūpa rāga vilāsa, Bombay: Mauj Prakashan, pp. 4–5
- Jha, Ramashraya (1968–78), Ābhinava Gītānjali (2 vols), vol. 1, Allahabad: Sangeet Sadan Prakashan, pp. 299–319
- Kaufmann, Walter (1984), The ragas of North India, Calcutta, New Dheli, Bombay: Da Capo Press, ISBN 0-306-76169-6, OCLC 8220451
- Khan, Raja Nawab Ali; Khāṃ, Navāba Alī (1952), Māriphunnagamāta, vol. 1, Hathras: Saṃgīta Kāryālaya, pp. 216–217, OCLC 69396515
- Khan, Raja Nawab Ali; Khāṃ, Navāba Alī (1952), Māriphunnagamāta, vol. 2, Hathras: Saṃgīta Kāryālaya, pp. 95–97, OCLC 69396515
- Moutal, Patrick (1991), Hindustāni Rāgas Index, New Dheli: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7
- Patki, J.D (1971–75), Aprakāśita Rāga, vol. 3, Hathras: Saṅgīta Kāryālaya, pp. 85–90, OCLC 313609634
- Patwaradan, Narayan Rao (1972), Tarala Prabandhāvalī, Rajasthan: Vanasthali Vidyapith, p. 4
- Patwaradan, Vinayak Rao; Paṭavardhana, Vināyaka Nārāyaṇa (1962–1971), Raga Vijñāna (7 vols), vol. 5, Poona: Madhusūdana Vināyaka Paṭavardhana, pp. 193–198, OCLC 69221634
- Phulambrikar, Krishnarao, Rāga Sangraha (7 vols), vol. 6, Poona, pp. 1–4
- Ratanjankar, S.N. (1962), Abhinava Gīta Manjarī, vol. 2a, Bombay: Pŏpyulara Prakāśana, pp. 144–148, OCLC 63027697
- Srivastava, Jaisuklai (1969), Malhāra Ke Prakāra, vol. 4, Bombay: Jaisuklal Shah, pp. 19–22
- Vaze, Ramkrishna Narahar (1938), Sangīta Kala Prakāśa, vol. 1, Poona: Ramkrishna Sangeet Vidyalaya, pp. 79–80, OCLC 47893854
- Rao, Suvarnalata; Wim, van der Meer; Jane, Harvey (1999), Bor, Joep (ed.), The Raga Guide: A Survey of 74 Hindustani Ragas, London: Zenith Media, archived from the original on 2003-12-03