Ragam ANANDABHAIRAVI
^^^^^^^^^^^^^^^^^^^^
A Janya Ragam derived from Melam 20 Natabhairavi
Arohanam: SA GA RI GA MA PA DHA PA SA
Avarohanam: SA NI DHA PA MA GA RI SA
Chatusruri Rishabham, Sadharana Gandharam, Suddha Madhyamam, Chatusruti
Dhaivatham, Suddha Dhaivatham, Kaishiki Nishadam. 
(Chatusruti DHA is an Anya svaram in both Arohanam and Avarohanam).
Vakra Shadava - Samporna Ragam (Vakram only in Arohanam)
Shuddha Dhaivatham occurs in The prayogam: PA DHA PA MA, MA DHA PA MA GA RI
Chathusruthu Dhaivatham in : PA DHA PA SA, PA DHA NI DHA NI PA, SA NI
DHA PA So it is a Bhashanga ragam.   
Since Chathusruthi Dhaivatham occurs more often that Suddha 
Dhaivatham, some musicologists place Anadabhairavi
under Melam 22 Kharaharapriya.

Subbarama Dikshitar classifies Anandabhairavi under the
Asampoorna Melam 20 Ritigowla as Upanga Ragam No. 3
Definition (Venkatamakhin):
	ArOhE RiShabham TyaktwA  Dha vakram cha samAcharEth
	SampUrNA sagrahOpEthA BhavEd Anandabhairavi
Arohanam:  sa ga ga ma pa dha pa sa ni sa
Avarohanam: sA ni dha pa ma ma mA ga ga ri sa

Upangam Ragam, Sampoornam, Shadja Graham, In Arohanam Rishabha Varjyam,
Vakra Dhaivatham,   Ma Ga Ni, Sa are Jeeva and Nyasa svaras.
About 175 years since Venkatamakhin,  it is a practise to employ
Pancha Sruthi Dhaivatham in Anandabhairavi.  (Details of this are
found in Sangita Sampradaya Pradarshini, Tamil Ed. Page 332).

An oldest Ragam, suitable to sing at al times; especilly
suited for singing SLokams, lullabies, marriage songs, folk tunes.
The Raga evokes KARUNA and SRINGARA rasams.  The full effect of the
Ragam is brought out, when sung in VILAMBITA KALAM.

Syama Satri is always associted with Anadabhairavi
(along with Misra Chapu Talam).  It was he who
shaped this Raga to perfection in the current form.
Recently, Balambal Natarajan (a music teacher based in New Jersey
area) has composed a krithi on Syama Sastri in Anandabhairavi and in
Viloma Chapu Talam : "Sri Tala Brahma Syama Krishna"
which gives glorious tribute to Syama Sastrigal.
(Text is printed in SANGEETHAM, Vol 9, No. 1, CMANA)

Mathrubhoothayya, who lived during the pre-trinity days had
already popularized Anandabhairavi through his beautiful
composition:  Ni Mathi Challaga Nanu Brochute.

Muthuswami Dikshitar's song: Tyagarajayoga Vaibhavam in
Anandabhairavi contains the two Yatis -  Gopuccha Yati and
Srotovaha Yati.  The phrases are:
For Gopuccha Yati (like a cow's tail!):
		Tyagaraja Yoga Vaibhavam
		 Agaraja Yoga Vaibhavam
		   Rajayoga Vaibhavam
	            Yoga Vaibhavam
	              Vaibhavam
	        	Bhavam
			Vam
and the Srotovaha Yati (Flowing r iver) in
			sam
		     Prakasham
		Svaroopa Prakasham
      	     Tattva Svaroopa Prakasham
	Sakala Tattva Svaroopa Prakasham
    Sivasaktyadi Sakala Tattva Svaroopa Prakasham


COMPOSITIONS IN ANANDABHAIRAVI
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Lakshya Gitam
^^^^^^^^^^^^^
Jaya Jagadi TumidhIru , Jhampa (Venkatamakhin) 

Gitam
^^^^^
Kamalasulochana, Adi (Unknown)

Svarajati
^^^^^^^^^^
RAvE O Manasa, Adi (unknown)
RAvE Memaguva, Adi (Virabhadrayya/Shobanadri(?))

Padavarnam
^^^^^^^^^^
SAmi NI RammaNavE, Ata (Syama Sastri) (on Varadaraja)
Pankaja Lochani, Adi (Muthiah Bhagavathar)
Ninu namminanu, Adi (Unknown)

Varnam
^^^^^^
SA Rekunitu mOti, Adi (Subbarama Dikshitar)
Pavana SuguNa, Adi (Svati Tirunal)
SakhiyE intha, Adi (Ponnayya Pillai)
Imticghakka, Adi (Vina Varadayya)

Krithis
^^^^^^^
AmbA nI CharaNamu, Adi (Ramaswami Dikshitar)
MurugA TarugilayA un, Misra Ekam (Ettaypuram Maharaja)
Abhayamba Nayaka, Adi (Muthuswami Dikshitar)
Anadeswarena, Misra Chapu (Muthuswami Dikshitar)
Dandayudhapaneem, Rupakam (Muthuswami Dikshitar)	
Kamalamba Samrakshathu, Triputa (Muthuswami Dikshitar)
Manasa Guruguha, Rupakam (Muthuswami Dikshitar)
Paradevathe, Adi (Muthuswami Dikshitar)
Tyagarajayogavaibhavam, Rupakam (Muthuswami Dikshitar)
Marivere, Misra Chapu (Syama Sastri)
O Jagadamba, Adi (Syama Sastri)
Himacahala Thanaya, Misra Ekam (Syama Sastri)
Pahi Sri Giriraja Suthe, Rupakam (Syama Sastri)
MahilO, Adi (Syama Sastri)
Adinamuninchi, Triputa (Syama Sastri)
Rama Rama Ni , Adi (Tyagaraja)
Kshirasagara Vihara, JHampa (Tyagaraja)
Nike Teliyaka pothe, Adi (Tyagaraja)
Rama Rama Ni Varamu , Adi (Tyagaraja)
Chapala Chuttade, Chapu (Ponnayya Pillai)
Ninai ManamE, Jhampa (Papanasam Sivan)
Ananda BhairavI, Adi (Papanasam Sivan)
SwamI SaraNam, Adi (Papanasam Sivan)
Ninai ManamE, Rupakam (Papanasam Sivan)
Bhetta Dandta Duritha, Adi (Purandaradasa)
Narayana Ninne, Atta (Purandaradasa)
Samagana Priye, Adi (Periyasami Thuran)
Nimati Challaka, Adi (Mathrubhoothayya)
KaruNAm Kuru ME, Rupakam (Virabhadrayya)
KANA KaNNAyiram VENum, Rupakam (ANayya)
Kanikaramu leka, Rupakam (Vina Kuppayyuar)
Mazhai Peythu, Adi (kavi Kunjara Bharathy)
Nrittah CeythArE, Adi (Muthu Thandavar)
Nahi Re Nahi SankA, Adi (Sadasiva Brahmendra)
Sadbhakti yuta, Rupakam (Ramnad Srinivasa Iyengar)
Enna Seryven, Adi (Arunachala Kavi)
Narayana Hare Govinda, Adi  (Bhadrachala Ramadas)
Mahavishnu Sodari, Adi (Muthiah Bhagavathar)
PuruSAya, Adi (Muthiah Bhagavathar)
Shata KOti Manmatha, Adi (Uthukkadu Venkatasubba Iyer)
Prema Swaroopa, Adi (Uthukkadu Venkatasubba Iyer)
Paradevi Tirupparkadal, Rupakam (Nilakanthan Sivan)
Arunilai, Rupakam (Nilakanthan Sivan)
Palu Chellara, Chapu (Mysore Sadasiva Rao)
Jiva Padagai, Adi (Subrahmnanya Bharathi)
Krishna Karuna, Adi (Swathi Tirunal)
Pahi Tarakshupuralaya, Adi (Swathi Tirunal)
Varija Vadana , Adi (Swathi Tirunal)
NI BalamA, NAma BalamA, Adi (Balamuralikrishna)

Padam
^^^^^
Manji Diname, Triputa (Kshetragna)
Hithavi Gademo, Adi  (Kshetragna)
Urake Chalamo chesara, Adi (Kshetragna)
Poonden nErmozhi, Adi (Swathi Tirunal)
Balike Moham, Adi (Swathi Tirunal)
Manini Vamatha, Jhampa(Swathi Tirunal)
Krishna Karunakara, Adi (Swathi Tirunal)

Thillana
^^^^^^^^
Dhim Dhim, Adi (Swathi Tirunal)
Dhiranan Tara Tillana , Khanda Chapu (Tanjore Sankara Iyer)

Uthsava Prabhandham
^^^^^^^^^^^^^^^^^^
Andolika Vahane, Misra Chapu (Swathi Tirunal)

Tarangam
^^^^^^^^
NarayanNaya, Chapu (Narayana Tirtha)
Sakala Lokadhara, Jhampa (Narayana Tirtha)

Pallavi Lines
^^^^^^^^^^^^^
``ParvatI paramAnanda BhairavI'' (sung by Rudrapatnam Brothers)

``Athi Kaalai Avan Kaalai, Vadi VElai PaNivathu en VElai''
(rendered by T. R. Subrahmanyam)

There are at least two double Raga Pallavis featuring
Anandabhairavi and AMrithavarshini:

M. Balamuralikrishna:
``ApAra KaruNakarI SacchidAnanda BhairavI-
AnandAmritha Varshini JananI PAhi MAM.''

M. Chandrasekharam:
``Parameswari Anandabhairvi Paramananda AMrithavarshini''

While rendering a Pallavi in any of the Bhiaravi suffixes,
some musicians sing the Ragamalika swarams in several of the
Bhairavi suffix Ragams:  Anandabhairavi, Vasanthabhairavi,
Salagabhairavi, Sindhubhairavi, Ahir Bhairavi.
(Charumati Ramachandran, 
``Govindanati Mukundanati, Enakkavar SOndamati''
and Rudrapatna Brothers: `` ParvatI ParamAnanda BhairavI''
 used to do this).

Ragamalikas
^^^^^^^^^^^
The famous 108 raga Tala Malika of Ramaswami Diksitar
features Anandabhairavi in the tenth Chararam in the line:
"Bhogananda BhairavI"

Karpagavalli Nin Porpadangal (NI yinda verlai thannil)

Maharajapuram Santhanam in Nalinakanthimathim: 

Anandabhairavi also features as a preferred Ragam in
Ragamalika svara segments in Pallavis, as well as in
Ragamalika SLokams  (eg GNB used to begin the slokam:
Pavani Rupa Sarasvati Indirte in Anandabhairavi.


P. Narayanaswami
******************************************************

Notes:
Srini Pichumani writes:

Getting back to Anandabhairavi, it has various forms -
in its folk version it uses various tones including G3, N3 etc...
You can sometimes hear a lullaby "kastUri ranga rangA nA  ...
kAvETi ranga rangA" which is very much in this style.  Tyagaraja's
"kShIra sAgara vihAra", being a utsava sampradAya kriti, is rendered 
very much in this style.

Now, the gItam "kamala sulOcana" begins directly as N D N S
which straightaway contradicts the nominal Aro/Ava for this ragam
which is        S G R G M P D P S
                S N D P M G R S 
Also, S G G M occurs in the gItam itself.  


According to Prof.SRJ, this gItam, the varnam of vINa kuppier, 
the svarajati of ShobhanAdri, etc... are records of various 
interesting usages such as N D N S, G G M, N N S ...  
He opines that these items and other complex kritis need to be 
learnt only at an advanced stage of musical learning.

Coming to the kritis of Syama Sastry, like
                marivErE gati evvarammA
                O jagadambA
                pAhi shrI girirAja sutE
                himAcala tanaya
one gets to see the popular form of Anandabhairavi.

Subbarama Dikshitar mentions in his Sampradaya Pradarshini 
that in the 170 years or so since the time of Venkatamakhi, 
somehow the practice of using D2 (catuhsshruti dhaivatam; 
pancasshruti dhaivatam in his terminology) has come into 
vogue in Anandabhairavi.  He them mentions various phrases
where the usages occur of the D1 and D2.  Mostly S D P M, 
M D P M, P D P M should use D1; S' N D P M etc should use D2.
As per his organization, it is listed only under the 20th 
rAgAnga rAga, nArIrItigaula.

Muttusvami Dikshitar's compositions in this rAga are exquisite
and very elaborate.  Some of them are:
                kamalAmbA samrakShatu mAm
                mAnasa guruguha rUpam bhajare
                tyAgarAja yoga vaibhavam
                AnandeshvareNa samrakShitoham
                daNDAyudha pANim 
SRJ mentions that the usage of the flat gAndhara, G G M, 
M N N S, etc in "kamalAmbA samrakShatu mAm" indicates a
"bhAva svarUpam", an older form, for Anandabhairavi. 
(these of course have gotten mauled by standardization !!!).
-Srini.

Lakshminarayanan writes:(slaks@dancer.eche.ualberta.ca)


Brahma-sri Papanasam Sivan seems to have composed a good number of
songs in this soul stirring and extremely auspicious Ragam. Three
of them are :

1. Singaravelan Vanthan (Adi)
2. Vaanor Vanangum (Adi)
3. Ninai Manamae Skandanai (Rupakam ; Chittaswaram included)

Natarajan writes:(srinivn@autodesk.com)

Adding to the list of compositions in this rAgA are,

        a) tyAgarAja yOga vaibhavam - Muthuswamy Dikshitar - Adi 
        b) rAmabhadra rA rA - Bhadrachala Ramdoss - Adi
        c) sAma gAna priyE - GNB? - Adi

This rAgA also figures in the "nalinakAnthi madhi" rAgamAlika sung by 
Maharajapuram, in the lines "..nArAyani sAradhA dEvi..adhAranAyagi...".


Please send any corrections/additions to Pramila Srinivasan 
pramila@ecn.purdue.edu or V Chandramouli at vchandra@eecs.umich.edu