The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

Nat bhairav

As the name suggests, this rag is a combination of rag Nat and rag Bhairav (Shah [Bhairav ke prakar] 1991: 255). It is regarded as one of the varieties of Bhairav. The lower tetrachord has the notes of Nat whereas in the upper tetrachord Bhairav is evident. Therefore, except Dha, all the other notes are natural.

Tone material: S R G m P d N

In the ascent Re and Ga are included to maintain the impression of Nat, while the features of Bhairav: oscillating flat Dha and the concluding phrase – G m \R ~ S, albeit with natural Re instead of flat Re, are included as well to maintain the atmosphere of Bhairav. Sa and ma are important notes in this rag. Most movements in this rag are in the middle octave. Some musicians also use flat Ni, though sparingly, in the descent (ibid).

Some characteristic phrases:

S R R G G m-
R G m Nd~ ~ P
G m P G m \R S
R S \d~ P

This rag has a distinct character although at times imbued with impressions of Bhairav.

Time: early morning (ibid: 256)

Further listening:
Recording by Vasantrao Deshpande
Recording by Ravi Shankar

Performance by Aslam Khan

Composition: bada khayal

अरे मन मूरख
जनम गवायो
दाता करीम से लौ ना लगायो

धन दौलत के
भेदमें पडके
साचे रब सो
कछु नाही पायो

Oh, my ignorant heart! You have wasted all your life without caring to surrender to the almighty (Karim). You were caught in the delusion of material pleasure and never sought the grace of the Lord.

Tal: Ektal (slow tempo)

4-17: Performance opens with the movements of Bhairav including Dha, Ni and Sa
20-23: Re is oscillated (andol) as in Bhairav
29-38: Phrases of Nat including Sa, natural Re and Ga. Note the oscillations on Re
40-43: G m \R S, a typical Bhairav phrase, followed by S \d, characteristic for Nat bhairav
50-59: Ma is approached with Re and Ga, typical of Nat. Note the oscillations on Re
71-87: Pa is in focus, followed by oscillating Dha (89-91 & 96-99). Note a glide from middle Dha to Re below
127: High Sa is approached with Bhairav phrase – G m d N S
148: Composition begins. Note the refrain with oscillating Dha
210-245: Elaborations using words of the composition (bol alap)
246: Second part of the composition (antara)
301-322: Play with the rhythm (layakari) using words of the composition

Performance by Ajoy Chakrabarty

Composition: chhota khayal

सब मिल गावो बजावो
पाहुन अायो सुख उपजायो
सुगन्ध मान गुन्देलावो

धुन मधुर गुंजे निरंतर
हसत गावत नाचत नर नार
सरस रंग मधुर ढंग बरकास कियो

Let us make music together and celebrate in honour of our guest who brings great joy to us.

Tal: Rupak (medium tempo)

4-7: Performance begins with a phrase in which flat Dha is oscillated (andol)
19-27: Again the oscillating Dha followed by lower Pa
36: The impression of Bhairav created thus far is changed with the introduction of natural re, which is sustained, followed by G m \R,  a phrase typical to Bhairav
66: A glide to middle Dha, which is quite low. Note the oscillations
79-90: This is contrasted by bringing in focus the Pa. Note the movements returning to middle Re
96-118: Once again middle Dha is is highlighted. Note the oscillations and return to Pa
138: Compositions starts. Note the accentuated beat (sam) of the 7-beat rhythmic cycle coinciding with the middle Dha
144-180: First line is repeated with some variations
181: Second line
225-322: Elaborations using words of the composition (bol alap). Some of these phrases are also faster and play with the tempo
325-384: Elaborations using solfeggio (sargam). Some of them are fast runs (tan)
409: Second part of the composition (antara)
425: Next line
441: Concluding line of the composition

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