SRGMPDNS
SNDPMGRS
vadi Ma samvadi Sa
Open in the harmonium First taught in year 2 of a graded syllabus.
Bhairavi thaat · komal Re Ga Dha Ni
Ragas of Bhairavi भैरवी
· 4 ragas
Four ragas of Bhairavi thaat, with komal Re, Ga, Dha and Ni: Bhairavi, Malkauns, Bhupal Todi and Komal Rishabh Asavari, written out to play.
Bhairavi thaat lowers Re, Ga, Dha and Ni, all four komal, and keeps Ma and Pa shuddha; Bhairav thaat, a different one, lowers only Re and Dha. This page holds four Bhairavi ragas, Bhairavi, Malkauns, Bhupal Todi and Komal Rishabh Asavari, each written as its aroha and avaroha, the ascent and descent, with a button that plays it, all four within the thaat's notes. Bhairavi uses all seven. Malkauns and Bhupal Todi use five each and move straight both ways, but Malkauns leaves out Re and Pa and Bhupal Todi Ma and Ni.
BhairaviSRGMPDN
BhairaviSsamvadiRGMvadiPDN
MalkaunsSsamvadiGMvadiDN
Bhupal TodiSRGsamvadiPDvadi
The twelve notes of an octave, drawn with Sa on a white key.
Komal Rishabh Asavari sits here, not on the Asavari page. It has Bhairavi's notes and printed descent, but climbs without Ga and Ni and rests on komal Dha and komal Ga where Bhairavi rests on Ma and Sa. Read its shorter ascent before singing it, leave the missing notes out rather than rushing past them, and hold its vadi, komal Dha, when the shared descent reaches it.
Bhairavi, the gentlest, is named in year two; Komal Rishabh Asavari is the steepest. Learn the four lowered notes in the full line first, then withhold Ga and Ni going up without changing their forms when they return. Mark the omissions above the ascending line, where the reminder is needed.
Bhairavi vadi Ma samvadi Sa
Komal Rishabh Asavari vadi komal Dha samvadi komal Ga
In Malkauns the hand skips Pa easily and the voice puts it back. For one attempt, sing the descent with the keyboard silent, watching the gap left by Pa, then check against playback. Bhupal Todi keeps Pa and has no Ma, so give its gap a separate sitting. Neither line turns, and the work is to land on the next written pitch without an unwritten stepping stone.
Start with Bhairavi, Malkauns and Bhupal Todi.
The ragas of this shelf, the gentlest first4
SRGMPDNS
SNDPMGRS
vadi Ma samvadi Sa
By the time you reach komal Re, your mind may already be on the final Sa. Give komal Re its pitch first. Bhairavi uses komal Re, Ga, Dha and Ni in full, straight lines, with Ma as vadi and Sa as samvadi. Komal Rishabh Asavari has the same notes but omits Ga and Ni ascending and names komal Dha as vadi. Hold Bhairavi's last descending komal Re, check it against the key, then finish. Repeat on aa, landing as clearly.
Open in the harmonium First taught in year 2 of a graded syllabus.
SGMDNS
SNDMGS
vadi Ma samvadi Sa
There is no Pa to lean on between Ma and komal Dha. Malkauns omits Re as well, keeping komal Ga, Dha and Ni around its Ma vadi and Sa samvadi; Bhairavi adds komal Re and Pa. Hear komal Dha before leaving Ma, then sing the gap up at the volume of the notes around it. Record it once without keys; if you pushed louder to reach the target, try again without the force.
Open in the harmonium First taught in year 3 of a graded syllabus.
SRGPDS
SDPGRS
vadi komal Dha samvadi komal Ga
Coming down from Pa, make room to land on komal Ga before thinking of komal Re. Bhupal Todi omits Ma and Ni both ways, where Malkauns keeps Ma and komal Ni but omits Re and Pa. Komal Dha is vadi, komal Ga samvadi. Practise the gap down from Pa and hold komal Ga a count, checking the key during the hold. Then go lower on the same breath, without an uncertain landing rushing you to Sa.
SRMPDS
SNDPMGRS
vadi komal Dha samvadi komal Ga
Your hand may remember Bhairavi's climb more readily than this card's omissions. Komal Rishabh Asavari has Bhairavi's notes but omits Ga and Ni ascending, with komal Dha as vadi and komal Ga as samvadi. Give the ascending komal Re a full count, then move to Ma with no Ga between, and check Ma. On the descent, bring komal Ga back on purpose, and keep it out when you climb again.