| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
Bhairav is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. [1] But there is no connection in the similarity between in the names of the thaat and the raga.
Ragas of the Bhairav thaat make use of Komal Rishabh and Komal Dhaivat. Bhairava is one of the names of Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The ragas too have some of these masculine and ascetic attributes in its form and compositions.
The Bhairav raga itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valour to peace. There are many variations based on it including (but not restricted to) Ahir Bhairav, Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, Shivmat Bhairav.
Ragas belonging to the Bhairav thaat include:
Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas.
A Thaat is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term Melakartha raga of Carnatic Music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.
Raga Ramkali is an early morning raga in Hindustani classical music which belongs to Bhairav Thaat. In this raga, as in Bhairav, Rishabh and Dhaivat are Komal(flat), but the Teevra and the flat nishad are added. The vadi-samvadi are Pancham and Shadja. The aroha is S r G M P, G M d N S' and the avroha is S' N d P m P, d (N)d P, G M r S. Flat nishad and sharp madhyama are used often.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Bhairav is a Hindustani classical raga of Bhairav thaat. It is a sampurna raga that is traditionally performed in the morning and also as the beginning piece in concerts. It is the defining raga of its own Thaat.
Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, or perhaps a mixture of Bhairav and Kafi.
Bibhas is a Hindustani classical raga.
Bairagi (raga), also known as Bairagi bhairav, is a Hindustani classical raga.
Todi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Jogiya, or Jogia, is a raga in Hindustani classical music. It is based on Bhairav Thaat. It is played at the 1st Prahar of the day, dawn time. The name Jogiya came from Jogi, a colloquial version of the word yogi.
Nat Bhairav is a Hindustani classical heptatonic (Sampurna) raga of Bhairav Thaat. Traditionally it is a morning raga. It is one of the most important ragas of the Bhairav anga.
Khamaj is one of the ten thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Kafi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (Kharaharapriya) within this thaat.
Asavari is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Bhairavi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Marva or Marwa is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Purvi or poorviis one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Rishabha is the second svara out of the seven svaras of Hindustani music and Carnatic music. Rishabha is the long form of the syllable रे for simplicity while singing the syllable. Rishabha is pronounced as Re and Ri.
Dhaivata is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivata is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivata is pronounced as Dha.