There is some confusion about the Thaat of Komal Rishav Aasavari (KRA) and its close resemblance to bhairavi and Jogia. According to one opinion KRA is classified under Bhairavi Thaat, whereas some scholars consider it as a 'prakaar' (variant) of Aasavari. in this post i have tried to present the opinion of various scholars on the subject and general consensus arrived at.
Classification of Raags according to Thaat system was adopted in Hindustani Classical Music by Pt. V.n Bhatkhande on the pattern of 72 Melkartas of Carnatik system by adopting only 10 0f the Melkartas. The earlier Sanskrit Texts followed either Raag-Ragini system or Janak-Janya system. The disciples of Pt.Vishnu Digamber Paluskar still follow this system, notable among them being Pt.Vinayak Rao Patvardhan.
Pt.Bhatkhande and other scholars, prominent among them being Pt.Ramashrya Jha 'Ramrang' have classified KRA as a variant of Aasavari. Rules of both are the same except the use of komal rishav in KRA, which is more ancient and has the backing of old Sanskrit Texts. Aasavari with shuddha rishav is an outcome of khyal style of singing which is now more prevalent now and has now relegated KRA to an 'aprachalit raag'
The change of r into R is perhaps due to the demand of fast taans in khyal singing, as it is rather difficult to do fast taans with the use of r e.g. in a fast taan S' n d P m g r S Bhairavi will appear, which is not the case with slow pace of Dhrupad Style.
So Bhairavi and KRA have the same swaras in avaroha, except that in KRA g and n are varjit in aaroha, but are differentiated by their chalan. In place of S' n d P m g r S we use m P d n d m g r S or d m P d n d m g r S. To further differentiate with Bhairavi P is used more like d m P d m g r S besides mP d m P g.
Pt. V.R.patvardhan has classified Aasavari and KRA as two separate raags and has remarked that the chalan of KRA is like Aasavari except that r is used in place of
R. He has classified Aasavari as a Janak Raag and KRA as a Janya Raag.
Classification of Raags according to Thaat system was adopted in Hindustani Classical Music by Pt. V.n Bhatkhande on the pattern of 72 Melkartas of Carnatik system by adopting only 10 0f the Melkartas. The earlier Sanskrit Texts followed either Raag-Ragini system or Janak-Janya system. The disciples of Pt.Vishnu Digamber Paluskar still follow this system, notable among them being Pt.Vinayak Rao Patvardhan.
Pt.Bhatkhande and other scholars, prominent among them being Pt.Ramashrya Jha 'Ramrang' have classified KRA as a variant of Aasavari. Rules of both are the same except the use of komal rishav in KRA, which is more ancient and has the backing of old Sanskrit Texts. Aasavari with shuddha rishav is an outcome of khyal style of singing which is now more prevalent now and has now relegated KRA to an 'aprachalit raag'
The change of r into R is perhaps due to the demand of fast taans in khyal singing, as it is rather difficult to do fast taans with the use of r e.g. in a fast taan S' n d P m g r S Bhairavi will appear, which is not the case with slow pace of Dhrupad Style.
So Bhairavi and KRA have the same swaras in avaroha, except that in KRA g and n are varjit in aaroha, but are differentiated by their chalan. In place of S' n d P m g r S we use m P d n d m g r S or d m P d n d m g r S. To further differentiate with Bhairavi P is used more like d m P d m g r S besides mP d m P g.
Pt. V.R.patvardhan has classified Aasavari and KRA as two separate raags and has remarked that the chalan of KRA is like Aasavari except that r is used in place of
R. He has classified Aasavari as a Janak Raag and KRA as a Janya Raag.
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