bhairavam

[SrinathK]

So ok, this is a first for this section. bhairavam, not to be confused with the Hindustani rAgA bhairav (which is actually their mAyAmALava gauLa). It has not been explored much both by composers or by musicians on stage.

The arohanam and avarohanam are as follows :
A: S R1 G3 M1 P D2 N3 S
Av: S D2 P M1 G3 R1 S

Despite missing only one note on the descent, bhairavam is noticeably different from sUryakAntam, with a strong emphasis on the M1 as a starting and ending note. The D2 is also sung as a long held note. A unique brigha on the descent is also a distinctive feature.

In the arohanam it is possible to skip P and go straight to D2 and hold there which also adds more distinction to this rAga. So M D2 P and even M D2 N3 are strong phrases and used more often than M P D

Thyagaraja and Dikshitar have explored this rAgA from the trinity. Dikshitar has also taken it up as part of his chaturdasha rAgamAlikA composition - Sree vishwanAtham bhajEham

But first, Thyagaraja's mariyAda gAdayya - https://www.youtube.com/watch?v=U9ZxaXrL8TA (Yes MS Amma has sung more than you know) -- interestingly, there's a momentary hold on the N2 (kaishiki nishAdam) at gAdayya in her rendition. This N2 and a flash of D1 are used by Dikshitar in the SSP version of kAlabhairavam bhajeham.

This kriti was also an MLV specialty - https://www.youtube.com/watch?v=XMpvH0Kqp0Q - in her interpretation a singularly unique phrase - a D N3 , , , D - RS R, , (on gAdayya) appears that is non scalar and gives a unique identity to this raga.

Patnam Subramania Iyer has also composed nannu brOva rAdA rAma in this rAga. Here is GNB singing it (tape quality sucks though, but still) :- https://www.youtube.com/watch?v=VQBvXhHqNg0

[RSR]

you tube versions normally do not give the year or occasion. Smt.MS has sung quite a few in her later period from 1966 to 1996. Everybody knows that. but I am an admirer of her voice in earlier period. I stopped listening to classical music after 1966. Voice is very important for musicians ( just as physical stamina and agiility are important for sportsmen).
All the points can be had from standrad books on CM by Subbarao.
The more difficult part is identification of ragas in ragamalika songs. , correctly. That will be adding to the knowledge base. and cannot be acquired from books.
The series is best done in one's own website.