Bhairavi- Queen of Melody

 Bhairavi

          Evergreen Raga Bhairavi is one of the most beautiful melodies in Hindustani Classical Music. This raga is also considered as the concluding raga of Classical concerts because no musical performance continues after the recital of Raga Bhairavi. Raga Bhairavi falls under the Bhairavi Thaat of North Indian Classical Music. The name Bhairavi is taken from this Raga so Bhairavi Raga is also called the origin Raga of Bhairavi Thaat. Shadaj, Madhyam, and Pancham are natural notes, and the rest of all i.e., Rishva, Gandhar, Dhaivat, and Nishad are Komal Swara being used in the early morning melody of Raga Bhairavi. Madhyam is considered as the main Swar called Vadi and Shadaj in Samvadi in this raga. some writers and musicians of the Present Generation have different verdicts regarding Vadi and Samvadi of Raga Bhairavi. They consider Dhaivat as Vadi and Gandhar as Samvadi Swar.  In past decades Suddha Rishav was used as Vivadi Swar but now Suddha Rishav in Bhairavi is considered as Anuvadi note. It is also very common that all Twelve Semitones are systematically used in Raag Bhairavi of the present era. Generally, Raga Bhairavi is sung all the time without any time limitations, at the end of concerts. According to the theory of music its singing time is mentioned in the last phase of the night with Prahar of Night.

          As we know, Rag Bhairavi is an evergreen raga that is an integral part of  Semi-Classical form like Dadra and Thumri of North Indian Classical Music. Chota Khyal and Drut Khyal are sometimes common but Bada Khyal and Dhrupad is rare in Bhairavi performance. This raga also signifies the Shringara rasa-commonly known as affection and love. The Ascend and Descend of the Raga is ..

Aroha         :        Sa Re, Ga, Ma Pa Dha, Ni

Avroha       :        Sa Ni Da Pa Ma Ga, Re Sa

Pakad         :        Ga Ma Dha Pa, Sa Re Ga Ma Ga, (Re) Sa

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Prabandh- A Sacred Music tradition of the Medieval Period

   

Prabandh Period 

    In Indian Classical music history Prabandh period is considered as one of the prominent stages where the classical music form gets reforms and the changes in Vedic music and Jati Gayan to the new form of the music genre called the Prabandh- a structured singing tradition having four Dhatu and Six Aang. Udgrah, Melapak, Dhurv and Melapak are the four Dhatu, and Swar, Virud, Ten, Paad, Paat and Taal are the six Aang of Prabandh. The Prabandh style is illustrated in various Granthas (Books) of Indian Music History. Brihaddeshi is the first book where Prabadh was defined as a music style and describes as the systematic composition of melody with literature. Bharat Bhashya defines Prabandh as Desi Geetikaadhyay, Sangeetsameysar, Manasoulas, and Sangeetratnakar defines it as Prabandh and the component having Vastu and Roopak. The detail of Prabandh Vastu and Roopak is defined in the 4^th unit- Prabandhadhayay of Sangeetratnakar. Prabandh style of music is a combination of divergent styles of Music and Literature largely confined with the Leela (Love and affection) of Radha- Krishan and their social life in Gokul and Vrindavan. Geet- Govind is one of the popular text and music styles widely spread in society. Geet-Govind is the most popular text written and composed by Jaidev in the 12^th century.  

Prabandh is the kind of religious music genre where the religious aspect of Hinduism was written, composed, and sung. Prabandh period is obviously a byproduct of bhakti Andolan where numerous poets, singers, and composers contribute to the religious march started for preserving the Indian tradition musical genre started from Vedic period. The heritage of Indian music was reflected in Prabandh where Dhatu and Aang blend together to form the distinct pattern of singing style. The composition and singing having four Dhatu and six Aang were call Prabandh whereas three Dhatu and five Aang were called Roopak, and two Dhatu and three Aang were called Vastu. Moreover, Prabandh was subdivided into five categories according to the uses of Aang. Medini, Aanandani, Deepini, Bhawani and Tarawali are the jati of Praandh as per the uses of Aang. There were so many subdivisions in Prabandh where Language, Musical Notes, Rhythms, and other many components were considered as a part that raises the composition of Prabandh and its allied music tradition. Prabandh style is also considered as the last lineage of Vedic tradition nurtured in the 7^th/8^th century and matured in the 12^th/ 13^th century. Dhrupad-Dhamar style of Indian Classical music is supposed to be originated from the Dhruv of Prabandh style adding Paad and other Aang in the composition and structure.  

 

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