Chakravakam, whose equivalent in Hindustani is Ahir Bhairav, has the same scale as the former and it is only the usage of the notes and the gamakas applied to it that would differentiate the two ragas. Chakravakam is the 16th melakartha ragam of the scheme and Dikshitar called it Thoyavegavahini.

Aarohanam: S R1 G3 M1 P D2 N2 S

Avarohanam: S N2 D2 P M1 G3 R1 S

Carnatic Compositions

  • Varahim Vaishnavim, Veena Pusthaka and Gajananayutham, Dikshitar compositions are in Vegavahini – assuming both Thoyavegavahini and Vegavahini are the same ragas, as there is no specific song in the Dikshitar book in the former.
  • Eesane Indha by Papanasam Sivan
  • Perinbam Ver Ariyen by Ambujam Krishna (not to confuse with song starting in Atana by same composer)
  • Sarojanabha by Swathi Thirunal
  • Pibhare Rama Rasam by Sadasiva Brahmendral is sung in Ahir Bhairav

Listen to Eesane Indha, a Papanasam Sivan composition in the ragam Chakravakam.



Use in Movies

This is yet another popular ragam used in film music and I shall list a few songs here.

  • Ullathil Nalla Ullam from Karnan
  • Pichandi Thannai from Ganga Gowri (1973)
  • Nee Paadhi Naan Paadhi from Keladi Kanmani
  • Poojaikkaga from Kadhal Oviyam
  • Vidukadhaya from Muthu
  • Karpanaikku Meni Thandhu from Paatum Bharathamum (sounds more Ahir Bhairav)

However, I wanted to share this song from the movie Achamundu Achamundu, Kannil Dhagam, which comes in parts through the later part of the movie; as an extension parts of the background music played in the movie is also Chakravakam, which I though was effective.

Azan and Ahir Bhairav

Adhan / Azan (i.e) the Islamic call for worship is invariably in shades of Ahir Bhairav; so are songs in the Muslim culture. Though it is not a representation, I would like to quote Allah Allah song from Mohammad Bin Thuglak as an example of Ahir Bhairav.

Until next,

Vid 🙂