S-r-G-m-P-dD-nN-S

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Anuraag Dhoundeyal, writing in Swarajya magazine, considers Kabiri Bhairav to express “the angst of mystic experiences” (the ‘Kabir’ of the title refers to the famous 14th-century poet-mystic, highly influential on Sikh scriptures as well as the Hindu Bhakti movement through his radical critiques of organised religion). The raga’s poorvang matches with Bhairav (SrGm), however most melodic activity focuses on its ‘full up’ uttarang space (PdDnNS), with all tones in the Pa–re ‘half-saptak’ available in some guise. Best exemplified by Jaipur-Atrauli artists – refer to Manjiri Asanare-Kelkar’s excellent breakdown below, which explains it as “mainly a combination of two ragas – Bhairav and Jogiya – and a very small phrase of Ahir Bhairav” (watch her demarcate the phrase patterns with dancing hand signals!).

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राग कबीरी भैरव

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—Mallikarjun Mansur (1968)—

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[bandish, e.g. 0:02] mP (dn)d/r S, (N)Sdm, mP (P)G, Gm (r)Sr (G)m, mP P, (S)dm (Gm)P G, GmPm G\r S(rS)S, (mG)m mP P, P(dP)N\P PP(dP)d m, m(Gm)P PG(PG)mm, mP(dP)d/r S, S\d mP Gm (r)Sr (G)m…

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Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today I have come with a very beautiful morning raga: Kabiri Bhairav. As this is a complex raga, I am going to begin with the bandish: (N)dS, rmG(mG)r GmGr, GrS, (r)mP dr, Sd(P)m, mPPG, m(PmG)m rSrm, mPP, dPmPG, G(mPm)Gr, GrS, Sm mPPP, (S)PdP, dPdN Pd mP Gmm, mPd (d)rS, SrGrS, SSrn (DP)D n(d)dPm PmG, G(mPm)Gr, GrS, mPd (d)rSdPm, mPG, G(PmGm)GrS rm.

 

Kabiri Bhairav is mainly a combination of two ragas – Bhairav and Jogiya – and also a very small phrase from Ahir Bhairav. I will demonstrate both these main ragas in short, and then show you how Ahir Bhairav is added:

• [Bhairav] Gm(n)d dP, ddPmPGm, SGmP GmPm(G)r, rS, (N)ddS, Gm(G)rS, Gm(N)d, d(Nd)S, dNSrrSN S(N)d Gm(N)dS NdP, GmNdPd (P)mP P(P)Gm, SGmPmGm Pm(G)r, rrS
• [Jogiya] Srm (G)r m(G)rS, (N)drSr m(GPm)r SdS, mPdS, NS(N)d, mPdr S(N)dS, mPdrS N(d)dm, mPdSrS(N)d mPdPd m(G)r, SrmPd dm dmr, m(GPmG)r Srm

Now, the phrase from Ahir Bhairav. But, before showing you: I should mention that my two gurus had slightly different approaches towards this Ahir Bhairav element. The way I look at it: S SrnD nd(P)m, SrnDn (this is how Kishori-tai used to see it too) – but, as this is a complex raga, there can be different versions, even of this particular bandish. This is another way of looking at it: SrnDnr S(n)d(P)m, SrnD DnrS(n)d.

 

So from Sa, Bhairav or Jogiya is joined to this phase. In the way I sing it, I don’t go upwards with komal ni (SrnD); if I want to use it then I need to come down (SrnDn nd(P)m). But in the second version, if comes down from Sa (SrnDnr). This is just to give an idea of how a slight change can bring particular moods to the same raga and the same bandish.

 

Now we will see how the combination is made. It is interesting to note that, in many jod ragas, the swaras [of their parents] are different – but in Jaitashree, the scales of the two ragas are very close (although Jogiya doesn’t have Ga). It can be difficult, as we use the same swara to switch from one raga to another. It becomes very intricate and subtle, so we always have to be careful and thoughtful about the design.

 

Now we will see how these ragas are combined. As Ahir Bhairav is a small phrase which you can easily make out, I will use my thumb for Bhairav, and my index finger for Jogiya: SGm(G)r (G)rS, (N)d (N)d S, Srm r Gm(G)r rS, (G)rGm, mP, Gmd(P)mr, SrmPdmr, GmddPmPGm, GmPm(G)r mr, Gm(G)r, (G)rS, mmP, mPd(Pm)m, mPdrS, dS, mPdrS, rrSNS(N)d, Gm(N)d (d)S, drS, mPdrS, Sr(n) n(D)D, n(d)dmPGm, SrmPd(P)mr GmddPmP (P)Gm, GmPm(G)r, (G)rS. This is how the combination is done. I will conclude this session with the same composition I began with…”:

 

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—Kabiri Bhairav (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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—Imagery: Kabir (1440-1518)—

“Though little is known of the life of Kabir, it is believed he was born near Benares, and grew up in a family of Muslim weavers before becoming a disciple of the Hindu ascetic Ramananda. Kabir’s poetry draws on both Hinduism and Islam, though he was critical of both faiths – and some of his verses are included in the compilation of Sikh scriptures known as the Adi Granth. His mystical poems are grounded in the details and earthly particulars of everyday life…” (Poetry Foundation)

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Rati Bhairav

–Swara Geometries–

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• Core form: S–r–G–m–P–dD–nN–S

• Reverse: SrRgGmPdNS

• Negative: 8-1-3

• Imperfect: 3 (Pa, dha, Ni)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: (~Ekakshari)

S-R₁-G₃-M₁-P-D₁-D₂-N₂-N₃-S

• Jazz: Double Harmonic (dbl. 6th/7th)

1-b2-3-4-5-b6-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-7-8-9-10-11-0

(1–3–1–2–1–1–1–1–1)

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o o • • o o • o o o o o o

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• Tanpura: Sa–Pa

• Names: Kabiri Bhairav, Kabeeri Bhairav

• Transliterations: Hindi (कबीरी भैरव)

—Ashwini Bhide-Deshpande (1991)—