A variant of raga Bhairav, this rarely heard beautiful raga finds its mention around 17th century. Later Pandit V N Bhatkhande catalogued it in his magnum opus Kramik Pustak Malika. This is very different from Anand Bhairavi of Carnatic music.
Thhaat (parent scale)
Bhairav
Jaati:
Sampoorna (heptatonic)
Vaadi:
Madhyam (M)
Samvaadi:
Shadja (S)
Swaras:
Komal Rishabh ( r) and sparingly used Komal Nishad (n); rest shuddh swaras
Aaroh (ascent):
S r G M P D N S’ (Western notation: C C# E F A B C )
Avaroh (descent)
S’ N, D n P, M G r S (Western notation: C B A A# G F E C# C )
Key phrases:
G, M G M r, r S, G M D D P, D G S, r G, G M, M P, P, N D N S’, D n P, M G, M r, P M G r, r S
Time:
Morning
Anand Bhairav is a blend of Bhairav in the lower tetra chord and Alhaiya Bilawal in the upper tetra chord. That is why a sparingly used komal Nishad (n) is applied to its Bhairav based tapestry which has an oscillating Komal Rishabh like Bhairav. Some schools also use Komal Dhaivat in the ascent and Shuddh Dhaivat in the descent.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
Bharathi Prathap performing Raag Anand Bhairav at Lonavala Khandala Sangeet Sammelan 2023
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