Ahir Bhairav
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 r G m P D n S'
Avarohana
S' n D P m G r S
Key:
S, R, G, m, P, D, N: shuddha (natural);
r, g, d, n : komal (flat);
M: teevra (sharp)
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
ma
Samavadi
Sa
But Ga, Pa and Dha are also frequently sustained.
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.
Behavior
Ahir Bhairav is typical uttarang raga, which means emphasis is on the upper tetrachord.
Samay (Time)
The secondPrahar of the morning, around 6 - 9 AM.
Seasonality
Certain ragas have seasonal associations.
Rasa
Historical Information
Origins
Important Recordings
Wasif-ud-din Dagar, Music Today Cassette:A97015, (Alap and Composition in Dhamar); 'Chalo sakhi braj raje'[4]
Film Songs based on Ahir bhairav
- puuchho naa kaise maine rain bitaaii
- waqt karataa jo wafaa aap hamaare hote
- ab tere bin jee le.nge ham (film: Aashiqui)
- solah baras kii baalii umr ko salaam
- alabelaa sajan aayo re (film: Hum Dil De Chuke Sanam)
- Tirtha Vitthal Kshetra Vitthal (album: Abhangwani-Pt. Bhimsen Joshi)
References
- ^ a b c Bor 1999
- ^ Kaufmann 1968, p.250
- ^ Kaufmann 1968, p.251
- ^ Bagchee 1998
Literature
(most) entries due to: Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Dheli: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7
- 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
- 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
- Patki, J.D (1971-75), Aprakāśita Rāga, 3, Hathras: Sangeet Karyalaya, pp. 85–90
- Patwaradan, Narayan Rao (1972), Tarala Prabandhāvalī, Rajasthan: Vanasthali Vidyapith, pp. 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, http://www.nimbus.ltd.uk
- Bagchee, Sandeep (1999), NĀD Understanding Raga Music, Mumbai: Eshwar, ISBN 81-86982-08-6
- Kaufmann, Walter (1968), The ragas of North india, Calcutta, New Dheli, Bombay: Oxford & IBH Publishing Company
External links
Examples