Waking up with Bhairavi!
The power of Indian classical music is sometimes inexplicable in terms of words. The different Raaga-s, meant for different times of the day, are a great source of mysticism. The power of those probably lie in their design.
A researcher in the field of music would perhaps be able to find out why and how Raaga Bhairavi originated, but that is the not the topic of this blog post. Building up a musical sense originates from building up a musical ear. Many classical musicians from the sub-continent say: "Half of the musical "gyaan"(knowledge) comes from listening." Therefore, I too start with the listening part.
Pandit Hariprasad Chaurasia playing Raaga Bhairavi
Bhairavi - in the Hindustaani form - has seven (sometimes also referred to as "eight", including the high note "Sa") notes in the octave, with four of them in the "Komal" form. Herein lies the tonal quality of this Raaga. "Komal" symbolizes softness - a kind of restrained emotion and a degree of subtlety.
On one hand, we have a certain design of the Raaga, and on the other hand, we have the gentleness of the morning. Nature, with its different nuances, has always been a close friend of humanity. The gradual decline of the darkness and the soft but sure arrival of light is a sense of assurance to mankind.
The "Munis" and "Rishis" (Eng:Saints) of ancient India could develop their sense of enlightenment while meditating during mornings. The Morning Raaga Bhairavi, therefore, is like a catalyst. It has the power to facilitate the process of enlightenment.
A quick swim through the notes makes us think deeply - a movement from Sa to Komal Re and then to Komal Ga is more like an assertive pathway to softness and tranquility. The vocalist or the musician is forced to not pitch up, rather asked to stay very calm. The purpose could be something like, 'start something in a normal way, not in an abnormal way!'
This "Chalan" or pathway turns exquisite when the flow takes us to the next couple of notes, namely the "Ma" and the "Pa". These are the only normal notes, meaning these are not the softer versions. Here again, the design is forcing us to get back to normalcy. Perhaps this is due to the fact that there is light after all. There is hopefully a glimmer of hope as a new day is starting. The tonal quality needs to be such that there is a small spell of assurance once again.
Then, the final two notes arrive. They are the softer notes, again. They are in the form of "Komal Dha" and "Komal Ni" as if to not pitch harder. Enough is done with normal notes, the honest expression of the morning needs to return; hence, get back to the "Komal" notes.
Popular Shankar Jaikishen song from Shree 420 based on Raaga Bhairavi
Popular song by Shankar Mahadevan from the movie Luck By Chance on Bhairavi
All in all, this unique Raaga is a guide and a mentor that wants us to wake up and embrace a new day to make our life meaningful in the realm of a dawn that has something new to offer.
A researcher in the field of music would perhaps be able to find out why and how Raaga Bhairavi originated, but that is the not the topic of this blog post. Building up a musical sense originates from building up a musical ear. Many classical musicians from the sub-continent say: "Half of the musical "gyaan"(knowledge) comes from listening." Therefore, I too start with the listening part.
Pandit Hariprasad Chaurasia playing Raaga Bhairavi
Bhairavi - in the Hindustaani form - has seven (sometimes also referred to as "eight", including the high note "Sa") notes in the octave, with four of them in the "Komal" form. Herein lies the tonal quality of this Raaga. "Komal" symbolizes softness - a kind of restrained emotion and a degree of subtlety.
On one hand, we have a certain design of the Raaga, and on the other hand, we have the gentleness of the morning. Nature, with its different nuances, has always been a close friend of humanity. The gradual decline of the darkness and the soft but sure arrival of light is a sense of assurance to mankind.
The "Munis" and "Rishis" (Eng:Saints) of ancient India could develop their sense of enlightenment while meditating during mornings. The Morning Raaga Bhairavi, therefore, is like a catalyst. It has the power to facilitate the process of enlightenment.
A quick swim through the notes makes us think deeply - a movement from Sa to Komal Re and then to Komal Ga is more like an assertive pathway to softness and tranquility. The vocalist or the musician is forced to not pitch up, rather asked to stay very calm. The purpose could be something like, 'start something in a normal way, not in an abnormal way!'
This "Chalan" or pathway turns exquisite when the flow takes us to the next couple of notes, namely the "Ma" and the "Pa". These are the only normal notes, meaning these are not the softer versions. Here again, the design is forcing us to get back to normalcy. Perhaps this is due to the fact that there is light after all. There is hopefully a glimmer of hope as a new day is starting. The tonal quality needs to be such that there is a small spell of assurance once again.
Then, the final two notes arrive. They are the softer notes, again. They are in the form of "Komal Dha" and "Komal Ni" as if to not pitch harder. Enough is done with normal notes, the honest expression of the morning needs to return; hence, get back to the "Komal" notes.
Popular Shankar Jaikishen song from Shree 420 based on Raaga Bhairavi
Popular song by Shankar Mahadevan from the movie Luck By Chance on Bhairavi
All in all, this unique Raaga is a guide and a mentor that wants us to wake up and embrace a new day to make our life meaningful in the realm of a dawn that has something new to offer.
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