Ahir Bhairav

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

Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient but now rare raga Ahiri or Abhiri,[1] or perhaps a mixture of Bhairav and Kafi.[2]

Theory

Arohana and avarohana

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 descend 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

Vadi: M

Samavadi: S

Pakad or Chalan

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. There is typically some andolan/oscillation at the flattened second (komal Re).

Organization and relationships

Also there may be impressions of Kafi, the image of Ahir Bhairav is easily maintained with the characteristic passage ṇ Ḍ ṇ/r~ S [1] Specially the characteristic Bhairav andolan (oscillation) on komal re. Sometimes shuddha Ni is used in the lower octave to emphazise the Bhairav character.[3]

The Carnatic music equivalent to this raga is Chakravakam.

Related ragas:

Thaat: Bhairav

Behavior

Ahir Bhairav is typical uttarang raga, which means emphasis is on the upper tetrachord.

Samay (Time)

The first Prahr of the morning, around 6 AM - 9 AM.

Important Recordings

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 based on Ahir bhairav

  • man anand anand chayo (film: Vijeta)
  • meri veena tum bin roye
  • Ullathil Nalla Ullam from Karnan
  • puuchho naa kaise maine rain bitaaii
  • 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)
  • Teri ummid tera intezar karte hain (film: Deewana)

Carnatic music

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

  1. ↑ Alternate notations:
    • Carnatic: S R₁ G₃ M₁ P D₂ N₂ Ṡ
    • Western: C C# E F G A A# C
  2. ↑ Alternate notations:
    • Carnatic: Ṡ N₂ D₂ P M₁ G₃ R₁ S
    • Western: C A# A G F E C# C

References

  1. 1 2 3 Bor 1999
  2. ↑ Kaufmann 1968, p.250
  3. ↑ Kaufmann 1968, p.251
  4. ↑ Bagchee 1998
  5. ↑ Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

Sources

(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.), 5, Hathras: Sangeet Karyalaya, pp. 346–351
  • Bhatkhande, Vishnu Nayaran (1968–75), Hindusthānī Sangīta Paddhaati: Sangīta Śāstra (4 vols), 2, Hathras: Sangeet Karyalaya, pp. 359–376
  • Bhatt, Balvantray (1977), Bhāvaranga Lahāri, 2, Varanasi: Motilal Barnasidas, pp. 53–61
  • Gandharva, Kumar (1965), Anūpa rāga vilāsa, Bombay: Mauj Prakashan, pp. 4–5
  • Jha, Ramashraya (1968–78), Ābhinava Gītānjali (2 vols), 1, Allahabad: Sangeet Sadan Prakashan, pp. 299–319
  • Kaufmann, Walter (1968), The ragas of North india, Calcutta, New Dheli, Bombay: Oxford & IBH Publishing Company
  • Khan, Raja Nawab Ali (1924), Māriphunnagamāta, 1, Hathras: Sangeet Karyalaya, pp. 216–217
  • Khan, Raja Nawab Ali (1924), Māriphunnagamāta, 2, Hathras: Sangeet Karyalaya, pp. 95–97
  • Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Dheli: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7
  • Patki, J.D (1971–75), Aprakāśita Rāga, 3, Hathras: Sangeet Karyalaya, pp. 85–90
  • Patwaradan, Narayan Rao (1972), Tarala Prabandhāvalī, Rajasthan: Vanasthali Vidyapith, p. 4
  • Patwaradan, Vinayak Rao (1961–74), Raga Vijñāna (7 vols), 5, Poona: Sangeet Gaurav Granthamala, pp. 193–198
  • Phulambrikar, Krishnarao, Rāga Sangraha (7 vols), 6, Poona, pp. 1–4
  • Ratanjankar, S.N., Abhinava Gīta Manjarī (vols 1,2a,2b), 2a, Bombay: Popular Prakashan, pp. 144–148
  • Srivastava, Jaisuklai (1969), Malhāra Ke Prakāra, 4, Bombay: Jaisuklal Shah, pp. 19–22
  • Vaze, Ramkrishna Narahar (1938), Sangīta Kala Prakāśa, 1, Poona: Ramkrishna Sangeet Vidyalaya, pp. 79–80
  • 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
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