Dear Roopa,
I learnt about the four prakars of Bhairavi – Banaras, Delhi, Sindh and Punjab from
AIR broadcast of famous sarangi player Ustad Bundu Khan when I was about 15 years
old.
My observations are related to his version as I find them – by and large – acceptable.
I would answer your queries as follows :
1) I have rarely heard the Bhairavi recital projecting individual forms of different
prakars. Usually, musicians base their recital on Delhi prakar which uses both
Rishabh and both Dhaivat.
To add colours to the recital, various light forms of Bhairavi are also introduced
whereby shuddha Nishad and trivra madhyam are introduced.
So what you are doing in amalgamating different prakars is absolutely in order.
Perhaps as an exception, I have played shuddha Bhairavi (Banaras prakar) in an L.P.
record many years ago.
2) In view of the above, it would not be necessary for you to play paltas of different
prakars with a view to avoid their amalgamation in a recital.
In the following you will find details of all the four prakars.
a) Banaras – Banaras Bhairavi of seven notes of the scale and back with komal
re ga dha ni (रे॒ग॒ध॒नी॒ ) and madhyam shuddha.
b) Delhi – Shuddha Rishab and suddha re (रे) are added to the notes of Banaras
ang. These prakars are most commonly heard with mixture of other prakars, which is
a common practice.
c) Sindh Bhairavi – added to the Delhi prakars, shuddh Nishad especially in the
upper octave, is used. Ustad Vilayat Khan’s famous record in Sindh Bhairavi is a jewel
of an example. In addition to shuddha ma, trivra ma is also added to increase the
sensibility.
d) Punjab – I must confess that for a long time I could not find much difference
between Sindh Bhairavi and Punjab Bhairavi. It was once that I came across a
musician using shuddha ga in addition to the notes used in Sindh Bhairavi. Hence the
distinguishing feature in the Sindh Bhairavi and Punjab Bhairavi, for our
understanding, would be that shuddha Ghandhar is added to the version of Sindh.
I would advise you to listen to Bhairavi recitals on web. I have heard several musicians
on web under the nomenclatures raga Bhairavi – Sindh / Punjab versions. You may
not find the recitals reflecting exactly in line to what I have explained – Ustad Bundu
Khan’s version would be treated as one of the versions and not the final version.
Q42
Dear Panditji, I have a question/ request regarding Bhairavi. You have shown us the
different styles of Bhairavi according to the region they originate from. For someone
like me, who tends to amalgamate all of these when playing Bhairavi (mainly as I am
not always able to distinguish the different regional Bhairavis), could you please
suggest some paltas and compositions which you feel best reflect each type of
Bhairavi and also advise which vocalists represent each type. Thankyou in advance
Pranam Guruji
My questions and observations are in sequel to vadi-samvadi
Can the term Nyas be used for theherne ki jagah instead of Vadi- samvadi?
Nishad is never used as vadi swar of any raga but is prominently used as theherne ki
jagah or nyas ka swar in very many ragas.
Essentially the concept of raga is based on samvaad bhav, or to say, the management
of notes proportionately arranged in purvang region and the uttarang region according
to recriminatory samvad in the ragas. sometimes it appears that vadi-samvadi concept
is made due to samvad bhav in ragas and not for nyas.
My query is related to the relationship betweenNyas ka swar and theherne ki jagah
And Vadi-samvadi and purvang uttarang Kindly enlighten
Nyas is certainly the concluding point of a melodic design. If shastras do not reveal
any thing different, than it could be surmised that it is means the same as a resting
point. Vadi/Samvadi concept is governed by some tenets which do not relate directly
to Raga swarup. Further it is based on a pre determined fixed raga swarup. The
concept of resting point or melodic centres follow melodic movements usually
determined by the Gharana to which the guru belongs. However in the last analysis
what’s in a name?
Ashwin – in continuation of my earlier response to your query, let me clarify my
observation that “Vadi/Samvadi concept” is governed by some tenets, which do not
relate as such to Raga swarup.
As is well-known by a set rule that both Vadi / Samvadi notes, cannot be together
either in the purvang or the uttarang. Each ang has to have only one note of either
Vadi or Samvadi. Further, there has to be a distance of a particular number of notes
between Vadi & Samvadi.
Hence in my opinion, these rule are more grammatical rather than musical.
Further it is observed that for some reason dhaivat has been indicated as Samvadi
note in raga Bhopali. I think it is ridicules.
Keeping all this issues in mind, I have made the observation that some tenets do relate
directly to Raga swarup.
If you have further queries, please do not hesitate to ask.