Thaat | Asavari |
---|---|
Arohana | S Ṟ G̱ M G̱ P Ḏ Ṉ Ṡ |
Avarohana | N Ḏ P M G̱ Ṟ S Ṉ S |
Vadi | Ḏ |
Samavadi | G̱ |
Synonym | Sindh Bhairavi [1] |
Carnatic music |
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Concepts |
Compositions |
Instruments |
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Sindhu Bhairavi is a raga in Hindustani and Carnatic classical music, belonging to the Asavari thaat. In Carnatic music it is a Janya raga of the 8th melakartha raga Hanumatodi.[ citation needed ]
The raga brings Viraham (separation), Shokam (sorrow), Karunam (compassion) and Bhakthi (devotion) rasas. In Carnatic music it is a Bhashangaraga, in which all the 12 notes are applicable.[ citation needed ]
Sindhu Bhairavi is not to be confused with other similarly named ragas such as Sindhi Bhairavi, Sindh, Sindhura and Sindhura Bhairavi. [1]
Arohana: S Ṟ G̱ M P Ḏ Ṉ Ṡ [lower-alpha 1] [1]
Avarohana: Ṡ Ṉ Ḏ P M G̱ Ṟ S [lower-alpha 2] [1]
Popular carnatic compositions in the raga are:[ citation needed ]
"Sawan mor moharaan", from Sham Churasi Gharana, by Ustad Salamat Ali Khan and his son Ustad Shafaqt Salam Ali Khan is one of the most popular composition in this raag.[ citation needed ]
Song | Movie / Album | Year | Composer | Singer |
---|---|---|---|---|
Bhoomiyil Maanida | Ashok Kumar | 1941 | Alathur V. Subramanyam | M. K. Thyagaraja Bhagavathar |
Vadaname Chandra Bimbamo | Sivakavi | 1943 | Papanasam Sivan, G. Ramanathan | |
Brindhavanatthil | Meera | 1945 | S. V. Venkatraman | M. S. Subbulakshmi |
Kaatrinile Varum Geetham | ||||
Vazhkkai Ennum Odam | Poompuhar | 1964 | R. Sudarsanam | K. B. Sundarambal |
Maayame Naan | Missiamma | 1955 | S. Rajeswara Rao | P. Leela |
Ennai Yaar Endru | Palum Pazhamum | 1961 | Viswanathan–Ramamoorthy | T. M. Soundararajan, P. Susheela |
Pesuvathu Kiliya | Panathottam | 1963 | ||
Aaru Maname Aaru | Aandavan Kattalai | 1964 | T. M. Soundararajan | |
Vaarayo Thozhi Vaarayo | Pasamalar | 1961 | L. R. Eswari | |
Thaniya Thavikura | Paadha Kaanikkai | 1962 | J. P. Chandrababu | |
Ettaduku Maaligayil | P. Susheela | |||
Oorengum Mappillai | Santhi | 1965 | ||
Azhage Vaa Aruge Vaa | Aandavan Kattalai | 1964 | ||
Unnai Naan Santhithen (Ragam Subhapanthuvarali touches too) | Aayirathil Oruvan | 1965 | ||
Kaagitha Odam Kadalalai Meley | Marakka Mudiyumaa? | 1966 | T. K. Ramamoorthy | |
Naan Unnai Vaazhthi | Nootrukku Nooru | 1971 | V. Kumar | |
Thamarai Kannangal | Edhir Neechal | 1968 | P. B. Sreenivas, P. Susheela | |
Kalyana Sapadu Podava | Major Chandrakanth | 1966 | T. M. Soundararajan | |
Manapaarai Maadu Katti | Makkalai Petra Magarasi | 1957 | K. V. Mahadevan | |
Deivam Iruppathu Engey | Saraswathi Sabatham | 1966 | ||
Paartha Pasumaram | Thiruvilaiyadal | 1965 | ||
Sitthamellaam Enakku Sivamayame | Thiruvarutchelvar | 1967 | ||
Aadhi Sivan | P. Susheela, T. M. Soundararajan | |||
Aadaludan Paadalai | Kudiyirundha Koyil | 1968 | M. S. Viswanathan | |
Ambigaiye Iswariye | Pattikada Pattanama | 1972 | T. M. Soundararajan | |
Indhiya Naadu En Veedu | Bharatha Vilas | 1973 | M. S. Viswanathan, T. M. Soundararajan, P. Susheela, L. R. Eswari, Malaysia Vasudevan | |
Allah Allah | Muhammad bin Tughluq | 1971 | M. S. Viswanathan | |
Ithanai Maandharuku | Unmaiye Un Vilai Enna? | 1976 | ||
Enakoru Vidivelli | Keezh Vaanam Sivakkum | 1981 | ||
Raman Eththanai | Lakshmi Kalyanam | 1968 | P. Susheela | |
Enge Neeyo Nanum Ange | Nenjirukkum Varai | 1967 | ||
Malarum Mangaiyum | Annaiyum Pithavum | 1969 | ||
Sippiyil Muthu | Anbai Thedi | 1974 | Vani Jairam | |
Engeyum Eppothum | Ninaithale Inikkum | 1979 | S. P. Balasubrahmanyam | |
Naan Polladhavan | Polladhavan | 1980 | ||
Unakenna Mele | Simla Special | 1982 | ||
Theertha Kariyinile | Varumayin Niram Sivappu | 1980 | ||
Thendralukku Thaiveedu | Rajanadai | 1989 | ||
Kalyaana Maalai | Pudhu Pudhu Arthangal | 1989 | Ilaiyaraaja | |
Keladi Kanmani | ||||
Enna Saththam Indha Neram | Punnagai Mannan | 1986 | ||
Anbe Aruyire | Sevvanthi | |||
Paadatha Themmangu | Poonthotta Kaavalkaaran | 1988 | ||
Kalaivaniyo Raniyo | Villu Pattukaran | 1992 | ||
Solai Malai Ooram | S. P. Balasubrahmanyam, S. Janaki | |||
Oru Naalum | Ejamaan | 1993 | ||
Nilave Mugam | ||||
Oh Vennilave | Aanandha Kummi | 1983 | ||
Valaiosai | Sathya | 1988 | S. P. Balasubrahmanyam, Lata Mangeshkar | |
Poongaatru Puthithaanathu | Moondram Pirai | 1982 | K. J. Yesudas | |
Naan Oru Sindhu | Sindhu Bhairavi | 1985 | K. S. Chithra | |
Viralil Suthi Meettavaa | Nandhavana Theru | 1995 | ||
Aatharikkum | Nattupura Pattu | 1996 | ||
Muthumani Maala | Chinna Gounder | 1992 | S. P. Balasubrahmanyam, P. Susheela | |
Shenbagame Shenbagame (3 Versions) | Enga Ooru Pattukaran | 1987 | Asha Bhosle, Mano, Sunanda | |
Oru Santhana Kaattu | Ellame En Rasathan | 1995 | Ilaiyaraaja, S. Janaki | |
Madhulam Kaniye | Sami Potta Mudichu | 1991 | ||
Maatha Un Kovilil | Achchani | 1978 | S. Janaki | |
Thaneerilay Mugam | Manikuyil | 1993 | Mano, Uma Ramanan | |
Sandhana Marbilae | Nadodi Thendral | 1992 | Mano, S. Janaki | |
Hey Poothathadi Saathi Malli | Karuvelam Pookkal | 2000 | Uma Ramanan & Chorus | |
Mayil Pola Ponnu onnu | Bharathi | 2000 | Bhavatharini | |
Ram Ram | Hey Ram | 2000 | Kamal Haasan, Shruti Haasan | |
Nilavu Paatu | Kannukkul Nilavu | 2000 | Hariharan | |
Punniyam Thedi Kasikku | Kaasi | 2001 | ||
Yen Manavaanil | ||||
Aattama Therottama | Captain Prabhakaran | 1991 | Swarnalatha | |
Kallai Mattum | Dasavathaaram | 2008 | Himesh Reshammiya | Hariharan |
Margazhi Thingal Allava | Sangamam | 1999 | A. R. Rahman | S. Janaki, P. Unnikrishnan, Srimathumitha |
Chikku Bukku Raile | Gentleman | 1993 | G V Prakash Kumar, Suresh Peters | |
Nenjinile Nenjinile | Uyire | 1998 | S. Janaki, M. G. Sreekumar | |
Thillana Thillana | Muthu | 1995 | Mano, Sujatha Mohan | |
Yengae Enathu Kavithai (Charanam Starts with Ragam Lathangi) | Kandukondain Kandukondain | 2000 | K. S. Chithra, Srinivas | |
Kulirudhu Kulirudhu | Taj Mahal | 1999 | Unni Krishnan, Swarnalatha, R. Visweswaran (Iranian Santoor in second interlude) | |
Kadhal Yogi | Thaalam | T. L. Maharajan, Swarnalatha | ||
Mana Mohana | Jodhaa Akbar | 2008 | Bela Shende | |
Punnagaye | 24 | 2016 | Haricharan, Shashaa Tirupati | |
Kodu Poatta | Raavanan | 2010 | Benny Dayal | |
Nee Aandavana | Vaaname Ellai | 1992 | M. M. Keeravani | S. P. Balasubrahmanyam, K. S. Chithra |
Rekkai Katti Parakudhu | Annaamalai | Deva | ||
Vandhenda Paalkaran | S. P. Balasubrahmanyam | |||
Naan Autokaran | Baashha | 1995 | ||
Thiloththama | Aasai | S. P. Balasubrahmanyam, Swarnalatha | ||
Athanda Ithanda | Arunachalam (film) | 1997 | S. P. Balasubrahmanyam & chorus | |
Aval Varuvala | Nerrukku Ner | Hariharan,Shahul Hameed | ||
Megam Karukuthu | Kushi | 2000 | Harini | |
Enna Nenache | Chokka Thangam | 2003 | P. Unni Krishnan, Anuradha Sriram | |
Ovvoru Pookalume | Autograph | 2004 | Bharadwaj | K. S. Chithra |
Idhuthaanaa | Saamy | 2003 | Harris Jayaraj | |
Theeye Theeye | Maattrraan | 2012 | Franco Simon, Charulatha Mani, Sathyan, Aalap Raju, Suchitra | |
Udal Enna Uyir Enna | Amaravathi | 1993 | Bala Bharathi | Ashok |
Andhi Poove | Poove Unnai Nesithen | Yekanthan | S. P. Balasubrahmanyam | |
Thayin Manikodi | JaiHind | 1994 | Vidyasagar | S. P. Balasubrahmanyam and Chorus |
Anbulla Mannavane | Mettukudi | 1996 | Sirpy | Swarnalatha, Mano |
Megamai Vanthu | Thulladha Manamum Thullum | 1999 | S. A. Rajkumar | Rajesh Krishnan |
Santhana Malligaiyil | Rajakali Amman | 2000 | Vadivelu, Swarnalatha | |
Kilakku Sivakiyile | Seevalaperi Pandi | 1994 | Adithyan | Rajagopal, Sujatha Mohan, P. G. Srikanth, Napoleon |
Yeh Asaindhaadum | Paarvai Ondre Pothume | 2001 | Bharani | P. Unnikrishnan,S. Janaki, |
Maayane Andha | Nandha | Yuvan Shankar Raja | Rajalakshmi, Srimathumitha | |
Namma Kattula Mazhai Peiyuthu | Pattiyal | 2006 | Ilayaraaja, Roshini | |
Kathaigalai Pesum | Angadi Theru | 2010 | G. V. Prakash Kumar | Benny Dayal, Hamsika Iyer |
Tugalai Tugalai | Thalaivii | 2021 | G. V. Prakash Kumar | |
Saara Kaatrae | Annaatthe | D. Imman | Shreya Ghoshal, Sid Sriram | |
Puli Puli Paayumpuli | Paayum Puli | 2015 | Malgudi Subha | |
Naa Soodana Mogini | Jyoti Nooran | |||
Vaaren Vaaren Seemaraja | Seemaraja | 2018 | Diwakar, Kavitha Gopi |
Song | Movie / Album | Year | Composer | Singer |
---|---|---|---|---|
Vagaloi Vagalu | Pathala Bhairavi | 1951 | Ghantasala | Jikki and Chorus |
Song | Language | Movie / Album | Year | Composer | Lyrics | Singer |
---|---|---|---|---|---|---|
Putapayodhi | Sanskrit | Jagannath Bhakti Rath Yatra | 2023 | Siba Prasad Rath | Nanda Pradipta Kumar | Abhilipsa Panda, Siba Prasad Rath |
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.
Anandabhairavi or Ananda Bhairavi is a very old melodious ragam of Carnatic music. This rāgam also used in Indian traditional and regional musics. Ānandam (Sanskrit) means happiness and the rāgam brings a happy mood to the listener.
Mayamalavagowla is a raga of Carnatic music. It is classified as 15th melakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.
Darbari Kanada, or simply Raga Darbari, is a raga in Carnatic music. It is a janya ragam of 20th Melakarta raga Natabhairavi. Being an ancient raga, its original name is unknown. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in emperor Akbar's court. It belongs to the Kanada family. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance. It is also sometimes written as Durbari and Durbarikanada.
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter. In Hindustani music the raga has been classified under the Kafi thaat.
Raga Jaunpuri is a rāga in Hindustani classical music in the Asavari thaat. Some musicians like Omkarnath Thakur consider it indistinguishable from the shuddha rishabh Asavari. Its attractive swaras also make it a popular raga in the Carnatic circles with a number of compositions in South India being tuned to Jaunpuri.
Abheri is a raga in Carnatic music. It is a Janya raga, whose Melakarta raga is Kharaharapriya, 22nd in the 72 Melakarta raga system.
Charukesi is a rāga in Carnatic music. It is the 26th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Tarangini in Muthuswami Dikshitar school of Carnatic music.
Kharaharapriya is a rāga in Carnatic music. It is the 22nd melakarta rāga in the 72 melakarta rāga system. It is possible that the name of the ragam was originally Harapriya but it was changed to conform to the Katapayadi formula. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners. The Kafi thaat of Hindustani music is the equivalent of Kharaharapriya. Its Western equivalent is the Dorian mode. The Prati Madhyamam equivalent of this raga is Hemavati
Madhyamavati (madhyamāvati) is a raga in Carnatic music. It is an audava rāga, as it does not have all the seven musical notes (swaras). It is a janya rāga. The equivalent of Madhyamavati in Hindustani music is Madhumad Sarang. It also has other equivalents in Hindustani music such as ragas Megh and Megh Malhar.
Shanmukhapriya is a ragam in Carnatic music. It is the 56th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāmaram in Muthuswami Dikshitar school of Carnatic music. It is said to be borrowed into Hindustani music from Carnatic music. Many compositions on Lord Murugan and Lord Shiva are based on this raaga.
Kāpi is a popular rāga in Carnatic music, the classical music of South India. Kāpi is a janya rāgam of Kharaharapriya with a meandering vakra scale. Typically performed at slow and medium speeds, it is capable of inducing moods of devotion, pathos and sadness in the listeners. Kāpi is different from the Hindustani raag and thaat Kafi. The equivalent raag in Hindustani is Pilu.
Malahari is a Carnatic raga. This raaga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga is known to be a morning raga which brings out a sense of calmness. It is associated with the rainy season.
Saramati is a ragam in Carnatic music. It is a janya rāgam from the 20th melakarta scale Natabhairavi. It is a janya scale, as it does not have all the seven swaras in the descending scale.
Dhanyasi is a rāgam in Carnatic music. It is a janya rāgam from the 8th melakarta scale Hanumatodi. It is a janya scale, as it does not have all the seven swaras in the ascending scale. It is a combination of the pentatonic scale Shuddha Dhanyasi and the sampurna raga scale Hanumatodi.
Kalyanavasantam is a rāgam in Carnatic music. It is a janya rāgam from the 21st melakarta scale Keeravani. It is a janya scale, as it does not have all the seven swaras in the ascending scale. It is a combination of the pentatonic scale Chandrakauns of Hindusthani music and the sampurna raga scale Keeravani.
Mukhari is a rāga in Carnatic music. It is a janya rāga of Kharaharapriya. An emotional raga, it can sound very sorrowful and introspective. And of course, devotional as well. It sounds best in a very slow speed, with each note and gamaka enunciated clearly. However, there are some crisper renditions of this raga which are also enjoyable. Some well known and often heard compositions are Sivakama Sundari by Papanasam Sivan, Sangeeta Shastra and Entani Ne by Tyagaraja, Emani Ne by Subbaraya Shastri, Arivar Yaar by Arunachala Kavi and Endraikku Shiva Krupai by Neelakanta Sivan.
Nattakurinji is a raga in Carnatic music. It is an audava janya raga of 28th Melakarta raga Harikambhoji. This raga is good to sing in evenings. It is used rarely in Hindustani, but is very popular in Carnatic music. The raaga Kurinji belongs to the Melakarta family Shankarabharanam but is sung relatively rarely.
Hamsanandi is a rāgam in Carnatic music. It is a hexatonic scale. It is a derived scale, as it does not have all the seven swaras. Hamsanandi is a janya rāgam of Gamanashrama, the 53rd Melakarta rāgam. It has only the invariant panchamam missing from its parent scale, Gamanashrama, like Shree ranjani.
Vasantha is a raga in Carnatic music. It is a janya raga of Suryakantam, the 17th Melakarta raga. According to P|Subba Rao, majority opinion is that the raga is derived from Mayamalavagowla, the 15th Melakarta raga.