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Bhairavi (Carnatic)

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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.
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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
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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
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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.
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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
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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.
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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.
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This is one of the ancient rāgams, said to have been prevalent about 1500 years ago. There are numerous compositions in this rāgam.
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chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham & shuddha dhaivatham
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has been decorated with numerous compositions by almost all composers.
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Lyrics by Andal, set to Bhairavi by Ariyakudi Ramanuja Iyengar
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Unsourced material may be challenged and removed. 1718: 1678: 1548: 709: 698: 615: 229: 189: 1394:Athisaya Raagam (starting from line "Oru Puram") 527:(scale having all 7 notes), it has two different 3035: 795: 656:The other set of ārohaṇa and avarohaṇa used is: 2485: 1798: 485: 733: 690: 674: 646: 607: 591: 225: 181: 165: 2492: 2478: 1805: 1791: 729: 678: 670: 642: 595: 577:for details on below notation and terms): 492: 478: 221: 169: 116:Learn how and when to remove this message 1734: 1670: 1662: 1594: 1540: 1532: 725: 717: 713: 694: 682: 638: 630: 626: 611: 599: 217: 209: 205: 185: 173: 804: 3036: 1738: 1726: 1658: 1650: 1598: 1586: 1528: 2473: 1786: 1722: 1674: 1582: 1544: 1482: 1730: 1666: 1590: 1536: 721: 686: 634: 603: 213: 177: 54:adding citations to reliable sources 25: 1812: 1746: 1646: 1606: 1520: 1096:Janani Mamava (5th navaratri kriti) 737: 666: 650: 587: 535:, and hence is not classified as a 201: 161: 13: 1742: 1654: 1602: 1524: 14: 3055: 1483:Kumar, Ranee (23 November 2012). 1331: 1467: 1453: 274: 30: 2499: 1485:"How well do we know Bhairavi?" 41:needs additional citations for 1707: 1635: 1571: 1509: 16:A Janya raga of Carnatic music 1: 1778: 1326: 796:Elaboration and related ragas 570:structure is as follows (see 1695: F G A B 1559: F G A B 1368:M. K. Thyagaraja Bhagavathar 7: 1446: 1427:Thai Thai Thakka Arul Seiy 924:Upacharamulanu Chekonavayya 774: 762: 704: 661: 621: 582: 565: 10: 3060: 1440:Vijayalakshmi Subramaniam 1156:Satyavantarigidu Kalavalla 884:Upacharamu jēsevarunnarani 18: 3018:Asampurna Melakarta ragas 2998: 2946: 2875: 2799: 2748: 2682: 2606: 2510: 2449:Asampurna Melakarta Ragas 2429: 2378: 2331: 2284: 2234: 2184: 2134: 2123: 2069: 2022: 1975: 1928: 1881: 1831: 1820: 1386: 531:in its scale making it a 235: 195: 155: 147: 135: 2710:Karnataka Shuddha Saveri 1553:Western: C D E 1503: 65:"Bhairavi" Carnatic 19:Not to be confused with 1364:Alathur V. Subramanyam 1356:Unnai Kandu Mayangatha 1141:Oottukkadu Venkata Kavi 1016:Balagopala Palayashumam 751:. Note the use of both 1180:(4th Navaratna Malike) 1081:Patnam Subramania Iyer 978:Sri Kamalambayah Param 960:Lalithe Sri Pravriddhe 541:rāgam (parent scale). 280:Tanjavur-style tambura 1763: G F E 1623: G F E 1282:Rama Rama Prana sakhi 867:Pacchimiriam Adiyappa 830:Pacchimiriam Adiyappa 21:Bhairavi (Hindustani) 1713:Alternate notations: 1641:Alternate notations: 1577:Alternate notations: 1515:Alternate notations: 1409:Aadi Aadi Asainthal 1136:Eththanai kaettaalum 1020:Muthuswami Dikshitar 1002:Muthuswami Dikshitar 983:Muthuswami Dikshitar 805:Popular compositions 50:improve this article 3023:List of Janya ragas 2954:Thyagaraja Mangalam 2459:List of Janya ragas 1245:Ikanannu brovakunna 1116:Raghukula Thilamayi 743:The notes used are 551:It is considered a 360:Rāgaṃ Tānaṃ Pallavi 319:Asaṃpūrṇa Mēḷakarta 132: 2966:(Shuddha Dhanyasi) 2964:Udayaravichandrika 2305:Simhendramadhyamam 1315:Spencer Venugopal 1298:ElarAdAyanE kAmini 1266:" Keesu Keesendru" 1223:Indu enage govinda 942:Enati nomu phalamo 749:kaishika nishadham 130: 3031: 3030: 2715:Kathanakuthuhalam 2467: 2466: 2425: 2424: 2208:Shubhapantuvarali 2119: 2118: 1751:Western: C B 1683:Western: C E 1444: 1443: 1412:Yaar Jambulingam 1403:M. 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