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Bairāgī Bhairava

 

Ṭhāṭa : Bhairava

Āroha / avaroha : Sa re ma Pa ni Ṡa / Ṡa ni Pa ma re Sa

Jāti :  auḍuva / auḍuva

Vādī/ Samvādī : ma / Sa

Prahara :  6:00 – 9:00 am

Pakaḍa re ma, ni Pa ma re, ṇi re Sa (Raganidhi)

Bairāgī Bhairava is a recent raga popularized by the famous sitar player Pandit Ravi Shankar. The scale is direct and excludes the svara Ga and dha: Sa re ma Pa ni Ṡa / Ṡa ni Pa ma re Sa. Rules of interpretation for Bairāgī Bhairava are rather flexible. The svara ma and re are target notes that can be taken individually or approached jointly in avarohi (ma\re) and the slow oscillation (āndolana) on re can contribute to the evocation of the feeling of sorrow (karuṇā) usually associated with this beautiful morning raga.

Calana :

Sa ṇi P̣a, P̣a ṇi Sa re- Sa, Sa re ma, ma re-, ma Pa ni Pa ma re, ṇi Sa re- Sa, re ma Pa ni Pa, ma Pa ni Ṡa | ni Pa ma Pa Ṡa, Pa ni Ṡa ṙe, ni Ṡa ṙe Ṡa, ni Ṡa ni Pa ma re, ma re, ni Pa ma re, ṇi Sa re Sa.

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Rāga Bairāgī Bhairava, jhaptāla - Jonathan Voyer, Uday Kulkarni
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Rāga Bairāgī Bhairava, Ektāla - Jonathan Voyer, Uday Kulkarni
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​Textual references:

  • Jha R. (2018) Abhinava Gītanjali, Vol 4, p. 62.

  • Moutal, P. (2012). Comparative Study of Hindustānī Rāga-s: volume 1 (New edition). Aubagne : Patrick Moutal Editeur, p. 148-149

  • Rao, B. S. (1968) Raganidhi: A Comparative Study of Hindustani and Karnatak Ragas, Volume Four. Madras: The Music Academy, Madras, p. 235-236.

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About 
Note on Transliteration

This site was created by Jonathan Voyer as part of a postdoctoral research-creation project carried out with the collaboration of Pandit Satish Vyas and Dr. Maneesha Kulkarni, professor at the music department of Mumbai University. This project was funded by Fonds de recherche  du Québec (FRQSC).

We opted for transliteration rather than transcription.  We use the system of the "International Alphabet for Transliteration of Sanskrit" (IAST).Thus, the term " बंदिश " is transliterated into "bandiśa" and not transcribed into "bandish". All the transliterated terms are neutral and written in italics, with the exception of names (including the name of ragas, e.g. Ahīra Bhairava). The vowel "a" attached to the final consonants is preserved for uniformity. The terms already translated in English are written as such, we will read "raga" and not "rāga".

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