Vid Dev

Musings of a music student



Anandabhairavi – Ragapedia 12

A soothing raga in Carnatic Music, Anandabhairavi is a janya ragam of Natabhairavi. The pann equivalent of it is Kausikam.

Aarohanam – S G2 R2 G2 M1 P D2 P S

Avarohanam – S N2 D2 P M1 G2 R2 S

Carnatic Compositions

Syama Sastri has composed so many types of compositions in Ananda Bhairavi including gitam, swarajathi, varnam, part of ragamalika and a host of krithis. Makes me wonder if it was his favourite ragam. The list includes O Jagadhamba, Marivere, Himachala Thanaya, Pahi Sri Girirajasuthe, Mahilo Amba, a swarajathi, Samini Rammanave (varnam), Parvathi Janani (gitam), Amba Ninnu Nera (first of the Ragamalika).

On the other end of the spectrum is Thyagaraja who stopped composing in Anandabhairavi as a gift to a theatre performance he enjoyed watching which had a number in Anandabhairavi. The artist apparently wanted his name to be synonymous with the raga’s name he seems to have made history like he thought! Hence there are just a couple of compositions in Anandabhairavi by Thyagaraja, including Nike Theliyaga.

Other compositions by other composers are:

  • Manasa Guruguha, Kamalamba Samrakshathu (1st Navavarnam), Thyagaraja Yogavaibhavam by Muthuswamy Dikshitar
  • Ramabhadra Raa Raa, Paluke Bhangara by Bhadrachala Ramadas
  • Samagana Priye by Periyasami Thooran
  • Ayyara by Aanayya
  • Ni Mathi Chellaga by Kavi Matrubhoothaiyer
  • Poomel Valarum by Mazhavai Chidambara Bharathi
  • Raveme (swarajathi) by Veerabhadrayya, who is said to have composed the first known swarajathi
  • Karpagavalli Nin by Jaffna Veeramani Iyer – first raga of the Ragamalika

Listen to Marivere Gathi a composition of Syama Sastri in Anandabhairavi.

Drama and Anandabhairavi

Kathakali performances uses an amalgamation of ragas, one of them being the characteristic Anandabhairavi. However, the raga used is entirely governed by the mood and character of the story. Kathakali music has no qualms in using one allied raga after another, if the mood demands the same. Where as in Carnatic music an Anandabhairavi or Huseni or Mukhari would not follow a Bhairavi rendition. (source)

Listen to a Kathakali padam, Sukumara Nandakumara, as a part of Poothana Moksham (story of a rakshas Poothana being killed by baby Krishna), which is sung more fluidly, unlike the krithis in the raga.

Yakshagana, a theatrical form of the West coast, also uses Anandabhairavi to perform stories from Ramayana, Mahabharatha.

Use in Movies

Here is a hilarious song from the movie Thooku Thooki where “Sethji” Baliah and Lalitha sings a duet in Kapi – Anandabhairavi, “pyari nimbal mele namki mazaa”, that definitely brought a smile to my face. The Hindi-ish portions are set to Kapi, while the Tamizh portions starts with Anandabhairavi.

Well, not just for wooing as in the above song, but Anandabhairavi has been extensively used in one aspect – baby shower songs in movies, I noticed.

  • Poi Vaa Magale from Karnan
  • Sri Janaki Devi from Missiyamma
  • Sittu Pole Muthu Pole from Iniya Uravu Poothadhu

Nalvazhvu Naam Vaazha from the movie Veetuku Veedu also seems to be some marriage related song, though there is no way to know for sure, it was not pictured in the movie.

Of course, other famous songs in this raga include Konja Naal Poru Thalaiva from Aasai, Anbendra Mazhaiyile from Minsara Kanavu.


P.S: I am adding some random facts here because I didn’t know where else to put them!

  • Muthuswamy Dikshitar’s Thyagaraja Yoga Vaibhavam has this famous prosody pattern in the Pallavi.
    • Thyagaraja Yoga Vaibhavam
      • Agaraja Yoga Vaibhavam
        • Raja Yoga Vaibhavam
          • Yoga Vaibhavam
            • Vaibhavam
              • Bhavam
                • Vam
  • Syama Sastri’s Himachala Thanaya was initially sung in Misra Chapu, in a thalam that he frequently used.
  • The movie Ananda Bhairavi does not have any song in the raga titled.

Until next,

Vid 🙂

Kedaragaula – Ragapedia 9

Kedaragaula, another janyam of Harikamboji, has a very brisk characteristic to it. Probably why it is attributed as a morning raga or said to be apt to start concerts with. Also a ragam more frequented in ragamalikas in viruthams and RTPs.

Aarohanam – S R2 M1 P N2 S

Avarohanam – S N2 D2 P M1 G3 R2 S

Carnatic Compositions

  • Thulasi Bilva by Thyagaraja
  • Nilothpalambikaya by Muthuswamy Dikshitar (4th vibhakthi)
  • Samikku Sari Evvare by Papanasam Sivan
  • Jalajanabha by Swati Thirunal
  • Saraguna Palimpa by Poochi Srinivasa Iyengar
  • Seshachala Vasa by Chowdiah
  • Antha Rama Sowndharyam by Arunachala Kavi
    • I learnt this song from Padma mami who used to explain the meaning when she taught the charanam; it compares each body part of Rama to something very picturesque. While singing the song, I used to visualize a cartoonish effect of the whole charanam. I was amazed to find that musician+painter S Rajam had made an illustration of the same. (Check featured image)

Listen to a Chowdiah‘s composition in Kedaragaula, Seshachala Vasa sung by me.

Kedaragaula and Kathakali

Kathakali, is an art form that enacts a story during its performance. If you remember, the act starts with a large screen being drawn in front of the audience, behind which the decked up dancers would get into position. This is when the act is also inaugurated (invocation) by the vandana slokam, which is sung in Kedaragaula. Of course, in certain performances, I did find it being sung in ragamalika too. Below is a recording of the musicians rendering the said song in Kedaragaula. I wasn’t able to find a decent recording with dance included though.

Use in Movies

The last line Satre Sarindha sung by Ambikapathy (from movie titled the same!) in the song Vadivelum Mayilum, (supposedly the 100th / 101st) when his lover appears on the upparikai, that is Kedaragaula. So is Aanandha Nadamidum from Nandanar, sung by MM Dandapani Desikar.

Image credits:

Until next,

Vid 🙂

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