Raga bhairav Bhairav or Bhairon is a raga

Raga bhairav • Bhairav, or Bhairon, is a raga in Hindustani classical music. • Its modern form with an important komal rishabh is, however, very different from that described in the old texts. • Bhairav has its name from Bhairava, an incarnation of Shiva, and was historically associated with glory and awe, but became identified with peace and devotion. • Raga Bhairav is sometimes linked to raga Bhairavi via Bhairavi's association with the consort of Bhairav (as aspect of Shiva) of the same name; Hijaz Bhairav is an example of this. • There are several allied ragas such as Ahir Bhairav, Bairagi, Gunkali, Hijaz Bhairav, Nat Bhairav, Ramkali, Jogiya and Kalingda. • This raga corresponds to Mayamalavagowla in Carnatic music.

Raga bhairav • Aroha: 'N S G M P G M, P G M (N)d, (N)d N S' • Avroha: N S' (N)d N d P, P G M (G)r S • Vadi: Dha • Samvadi: Re • Time: early morning

Raga Bhairavi • • • • Arohana & Avarohana Arohana Sa, Komal Re, Komal Ga, Ma, Pa, Komal Dha, Komal Ni C, D♭, E♭, F, G, A♭, B♭ Avarohana Sa, Komal Ni, Komal Dha, Pa, Ma, Komal Ga, Komal Re C, B♭, A♭, G, F, E♭, D♭ Pakad or Chalan Komal Dha - Komal Ni - Sa Sa - Komal Re - Kali - Ma - Kali - Pa - Komal Ga - Komal Ni - Komal Ga Organization & Relationships Related ragas: Bhairavi Shuddha Bhairavi Sindhu Bhairavi Nat Bhairavi Thaat: Bhairavi

Raga bhairavi • • Behavior refers to practical aspects of the music. It is complicated to talk about this for Hindustani music since many of the concepts are fluid, changing, or archaic. The following information cannot be accurate, but it can attempt to reflect how the music existed. The Performance for this raga is unusually relaxed, some musicians take the liberty of using shuddha Re in ascent, and even the sequence Ma - Teevra Ma. These deviations, however, are not typical of the raga. Musicians are also inclined to sometimes avoid Pa in ascent. Samay (Time) Bhairavi is an early morning raag. But it is also used as a concluding piece and as such has been performed even at night, but always in semi or light-classical rendering. If one has to sing or play bhairavi as a main piece it has to be in the morning time. Seasonality Certain ragas have seasonal associations. But in this regard, Bhairavi may also be treated as an all-time raga, as it is not based on the time of the year but the time of the day at which it is sung. Rasa Raag Bhairavi is typically performed with a peaceful, serious, and occasionally sad mood.

Raga khamaj • • Thaat – Khamaj Jati - Shadav-sampurana Vaadi-Ga Samvaadi Ni Time: Evening (Pratham Prahar) Aaroha - Sa Ga Ma Pa Dha Ni Sa Avroha. Sa Ni Dha Pa Ma Ga Re Sa Pakad - Ga Ma Pa Dha Ni Dha Pa Dha Ma Ga Re Sa Ni Dha Ma Pa Dha Ma Ga Ma Pa Dha Ga Ma Re Sa Ni Dha Ma Pa Dha Ma Ga

Raag khamaj • The raga has been explode more in the lighter forms of hindustani classical music such as thumari, tappa etc.

Raga kedar • Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga is placed on a high pedestal in the realms of Indian classical music. It is characterised by a lot of complex turns, which are brilliantly melodious but difficult to express in words. • Origin • The raga emerges from the Kalyan thaat. • Description • The raga is of shaadava-sampurna nature, i. e. , in its arohana (ascent), only six notes are used, and in avarohana (descent), all seven notes are used • The raga uses only natural (shuddha) versions of the Second (R), Third (G) and Sixth (D), both natural and sharp (tivra) versions of the Fourth (m and M, respectively), and predominantly natural versions of the Seventh (N) but occasionally also its flat (komal) version (n). ( m- teevra, M- shuddh)

Raga kedar • • Arohana: S M ~P, m P D n ~D P, m P S' Avarohana: S' N D P , m P D P M~ , S R S Pakad: S M , M P, m P, D P M, R S The most prominent (vadi) note is S, and the second most prominent (samvadi) is m. Samay (time) The raga is to be sung in the night. It is sung in the second prahar of night. Mostly the Ragas with teevra ma(M) are sung at night (as per the time theory of Ragas) Further Information The meend from D to M via P is the heart of the raga. The G is used lightly as a grace note in the transition from m to P. The movements in the raga from one swara to another are quite complicated, and the extent of use of the different swaras often depends on the singer. Kedar is an ancient raga, with different genres of classical songs, like khayals, thumris, dhrupads, as well as light classical songs based on it.