Although Bhairavi is a very popular Raag, there is some difference of opinion about it's chalan,vadi samvadi swaras,use of all shuddha and kopmal swaras in the Raag. So, for the benefit of all Members I have summarised these points after going through the opinion of various Scholars available with me.
1. Jaati All agree that it is Sampoorna-Sampoorna.
Aaroha - S r g m P d n S'
Avaroha- S' n d P m g r S
2 Vaadi -Samvadi
Pt.Omkar Nath Thakur has opined that depending upon the'Bhava' and 'Rasa' being expressed by the singer, these will change accordingly. In the 'poorvang' r and in the 'uttarang d will be Ansha swara, g and m will be 'Anugami' (follower). By general rule n will be 'Graha' swara, because the taans are usually taken starting from 'n. (Shri Thakur follows the old system of classification by Bharat Muni i.e.Grah, Ansh, Nyaas, Apanyas)
Pt.V.N.Bhatkhande has classified m as Vaadi and S as Samvadi but he says that some scholars are of the opinion that d and g should be vaadi and samvadi respectively and he has also recommended this classification.
Pt.Vinayak Rao Patvardhan as treated S as Vaadi and P as Samvadi.
Pt.Ramashrya Jha has also treated d as Vaadi and g as samvadi.
About the use of all shuddha and komal swaras in the Raag.
Now a days musicians use both the variants of Re Ga Ma Dha Ni in Bhairavi. This is acceptable to other scholars but not to Pt.Patewardhan. He is against this practice and has sarcastically remarked that fortunately Sa and Pa have no variants, otherwise these would also hav been used. He is of the opinion that only R and M may be used in such a way that the structure and 'maadhurya' of the Raag remains intact. According to Pt.Omkar Nath Thakur, through these experiments one can express different moods of a 'Naayika' in different situations of 'Naayika bheda' suchb as 'mugdha' 'navodha' 'abhisaarika' 'prodha' etc.
Shri Jha has stated that during the 50's Shuddha Rishav was used as a Vivadi swara and musicians treated m as vaadi swara, but the structure of the Raag has changed since then by the use of Shuddha Rishav as anuvadi swara and now Punjabi Bhairavi or better to say Sindhu Bhairavi is more prevalent due to frequent use of shuddha Rishav.
Bhairavi using all the notes is now called Mishra Bhairavi.
Shri Jha has explained as to how other swaras should be used in Bhairavi detailed hereunder:-
1. Shuddha Rishav - Only in Aaroha as 'd 'n S R g R (g) r S
2. Shuddha Gandhaar - g m P d n d P, m G m M m g - r S
.3 and Teevra Madhyam g m d Pgm M m (g) r as a Vivadi swara.
4. Shuddha Dhaiwat - g mP D n D n d P, nD m -r m P D n S' (d) P.
5. Shuddha Nishad - (attached to Sa) -, g, S r S r 'NS N S r S
Bhairavi has evolved from folk music. it is used mainly for non-serious popular music like Thumris, Dadra,bhajan,Tappa,Ghazal and light music and use of all swaras helps in this process, which is not liked by purists.
Some other interesting observations
In practice aaroha is not done as S r g m P...but as 'n S g m P d n S' with Malkauns ang as this form is convenient and easy for doing taans.
If from thisa swarawali r a d are removed from aaroha it will bring Raag Dhanashri. If m and n are removed both in aroha and avaroha , we get Bhoopal Todi. S r g, r g r S, 'n sS r g, m g r g r S brings in Bilaskahni bTodi and S r m P d S, r' n d P m g r S brings in Komal Rishav Asavari
.
1. Jaati All agree that it is Sampoorna-Sampoorna.
Aaroha - S r g m P d n S'
Avaroha- S' n d P m g r S
2 Vaadi -Samvadi
Pt.Omkar Nath Thakur has opined that depending upon the'Bhava' and 'Rasa' being expressed by the singer, these will change accordingly. In the 'poorvang' r and in the 'uttarang d will be Ansha swara, g and m will be 'Anugami' (follower). By general rule n will be 'Graha' swara, because the taans are usually taken starting from 'n. (Shri Thakur follows the old system of classification by Bharat Muni i.e.Grah, Ansh, Nyaas, Apanyas)
Pt.V.N.Bhatkhande has classified m as Vaadi and S as Samvadi but he says that some scholars are of the opinion that d and g should be vaadi and samvadi respectively and he has also recommended this classification.
Pt.Vinayak Rao Patvardhan as treated S as Vaadi and P as Samvadi.
Pt.Ramashrya Jha has also treated d as Vaadi and g as samvadi.
About the use of all shuddha and komal swaras in the Raag.
Now a days musicians use both the variants of Re Ga Ma Dha Ni in Bhairavi. This is acceptable to other scholars but not to Pt.Patewardhan. He is against this practice and has sarcastically remarked that fortunately Sa and Pa have no variants, otherwise these would also hav been used. He is of the opinion that only R and M may be used in such a way that the structure and 'maadhurya' of the Raag remains intact. According to Pt.Omkar Nath Thakur, through these experiments one can express different moods of a 'Naayika' in different situations of 'Naayika bheda' suchb as 'mugdha' 'navodha' 'abhisaarika' 'prodha' etc.
Shri Jha has stated that during the 50's Shuddha Rishav was used as a Vivadi swara and musicians treated m as vaadi swara, but the structure of the Raag has changed since then by the use of Shuddha Rishav as anuvadi swara and now Punjabi Bhairavi or better to say Sindhu Bhairavi is more prevalent due to frequent use of shuddha Rishav.
Bhairavi using all the notes is now called Mishra Bhairavi.
Shri Jha has explained as to how other swaras should be used in Bhairavi detailed hereunder:-
1. Shuddha Rishav - Only in Aaroha as 'd 'n S R g R (g) r S
2. Shuddha Gandhaar - g m P d n d P, m G m M m g - r S
.3 and Teevra Madhyam g m d Pgm M m (g) r as a Vivadi swara.
4. Shuddha Dhaiwat - g mP D n D n d P, nD m -r m P D n S' (d) P.
5. Shuddha Nishad - (attached to Sa) -, g, S r S r 'NS N S r S
Bhairavi has evolved from folk music. it is used mainly for non-serious popular music like Thumris, Dadra,bhajan,Tappa,Ghazal and light music and use of all swaras helps in this process, which is not liked by purists.
Some other interesting observations
In practice aaroha is not done as S r g m P...but as 'n S g m P d n S' with Malkauns ang as this form is convenient and easy for doing taans.
If from thisa swarawali r a d are removed from aaroha it will bring Raag Dhanashri. If m and n are removed both in aroha and avaroha , we get Bhoopal Todi. S r g, r g r S, 'n sS r g, m g r g r S brings in Bilaskahni bTodi and S r m P d S, r' n d P m g r S brings in Komal Rishav Asavari
.
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