Shivmat bhairav

This rag is a combination of three rag-s: Bhairav, Bhairavi and Todi (Shah [Bhairav ke prakar] 1991: 60). It is regarded as one of the varieties of Bhairav. It is sometimes called Shiv bhairav as well.

Tone material: S r g G m P d n N

Main movements in this rag resemble those of Bhairav. However inclusion of movements like d n d P and r g r S gives this rag a distinct character. Flat Ga and flat Ni are used only in these phrases. Otherwise the rest of the movements are with natural Ga and Ni. Features of Bhairav: oscillating Re and Dha as well as the phrase – G m \r ~ S are included as well to maintain the atmosphere of Bhairav.

Some characteristic phrases:
G m \r -g r S
S N d n d P
m G r g r S

Rag Bihad bhairav created by Kumar Gandharva has the same tonal material as Shivmat bhairav but the note treatment and movements are quite distinct.

Time: early morning (Shah [Bhairav ke prakar] 1991: 61).

Further listening:
Recording by Jitendra Abhisheki
Recording by Kumar Gandharva (Bihad bhairav)
Performance by Mashkoor Ali Khan

Performance by Mashkoor Ali Khan

Composition: bada khayal

सुमीरन (सुमरन) जोगी भये
जपत जपत तेरो नाम

यहिशा पूरी किजे
तब मैं जानू
पूरे किजे मोरे काज

Oh Lord! By meditating upon your name let me become a saint. Please grant me this wish.

Tal: Jhumra (slow tempo)

Performance:
5-11: performance open with a typical Bhairav phrase – d /S
20-24: Oscillating (andol) Re, again a feature of Bhairav
36-47: Oscillating Dha, followed by Pa in the lower octave
48-58: Typical ascent from lower Ga – G m d~, d N, S
74-85: Sustained Ga, followed by the typical Bhairav glide – m \r
86-92: Similar movements are repeated
93-102: Ga is approached again, followed by r g r S, a phrase peculiar to this rag
121-129: Similar movements with natural and flat Ga
134: First part of the composition (sthayi). Note the typical movement including both natural and flat Ga (148-160). Mark also the extra slow tempo, characteristic of the Kirana gharana to which the artiste belongs
190-199: Flat Dha is approached, followed by a phrase with flat Ni – G m /d~ d n d P
201-216: Phrases with the impression of Bhairav. Note a shake (gamak) on Dha
237: Second part of the composition (antara), also including both Ni (259-263) & (288-292)
324: Elaborations using words of the composition (bol alap), first in the lower middle octave, slowly ascending to upper middle octave
488: High Sa is reached and sustained. Note the typical phrase with natural and flat Ni to descend (517-524)

Performance by Jayateerth Mevundi

Composition: khayal

सब रंग जोग भये
सूरत दिये राजा राम

एेसी तोरी छबरन
बहु ना माने भयो
सखी चरचा सो माने

The song is about Lord Rama. Poet says that the power of Rama’s countenance is sure to make anyone to surrender to his divine grace.

Tal: Mattatal (medium tempo)

Performance:
4-15: Performance opens with typical Bhairav phrases including oscillating Re, followed by  a characteristic phrase r g r S (16-19)
26-43: Lower Dha with oscillations, followed by lower Pa and Ma, and then rising to Sa. Note the phrase at the end of sustained Sa; a typical phrase of Bhairav with oscillating Re
64-67: Oscillations on middle Dha
93: A typical concluding with m \r g r S
103: First part of the composition (sthayi)
144: Second line
179: Variations on the above line
221-315: Elaborations using words of the composition (bol alap)
323-348: Elaborations continue in the higher middle octave. Note the use of both Ni
360: Phrases leading to high Sa, followed by second part of the composition (antara)
407-435: Playing with the tempo (layakari)
449: Back to elaborations using words of the composition