What we call raga “exercises” are its swara vistara, meaning “exposition of the notes”. It is to show the way the melody develops in the raga – including the characteristic movements and accentuation of the raga, called raga chalan.
This swara vistara of raga Bhairavi was kindly put together and given to us by Kirit Dave’. It reflects his research and knowledge on Bhairavi, particularly on the historical development of this raga – as can be seen in his article On Raga Bhairavi.
The exercises which follow are meant for vocal practice and can be accompanied by instruments. Their purpose is to demonstrate the characteristic phrases and movements of the raga and thereby to help students to assimilate the identity of the raga. Besides this, and for the same purpose, it’s also recommended for one to learn many compositions in that raga.
The exercises should be practiced by hearing the audio recordings below. The written notes are a simplified version of the raga being sung; they are meant for reference and to help in the learning, not to give all the details; in some points a symbol (~ or –) was added to represent some detail.
Notation:
For notation of the notes, please see Notes and Notation.
~ means an unspecified ornament (e.g. an andolan or meend)
– after a note means that the note should be prolonged
Swara Vistara of Raga Bhairavi:
Slow tempo:
1. Sa, re, ga, Ma, Pa, dha, ni, Sa”, Sa”, ni, dha, Pa, Ma, ga, re, Sa.
2. Sa, Sa re ga~ re Sa, re ni’ dha’ ni’ Sa, Pa’ dha’ ni’ Sa ga~ re Sa, Sa re ga Ma, ga~ re Sa, dha’ ni’ Sa ga~ re Sa, dha’ ni’ Sa re ga Ma – ga Ma~ re Sa
3. ni’ Sa ga Ma Pa, dha Pa, Ma Pa ga Ma dha Pa, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa, ni’ Sa ga Ma dha Pa, ga Ma re Sa
4. ni’ Sa ga Ma dha Pa, ga Ma ni dha Pa, Ma Pa ga Ma, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa.
5. ga Ma dha ni Sa”, ni Sa” ni Sa” ni Sa” re” Sa” ni Sa” dha Pa, Pa dha Ma Pa ga~ Ma, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa.
6. ga Ma dha ni Sa” ga” re” Sa”, Sa” Re” Sa” Re”ga” Re” Sa”, ni Sa” ni Sa” re” Sa” ni Sa” dha Pa, Pa Sa” Sa” re” Sa” ni Sa” dha Pa, Pa dha Ma Pa ga~ Ma, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa Re ga~ re Sa.
7. ni’ Sa ga Ma Pa, Pa ni Dha ni Pa dha Pa, Pa Dha ni Sa” Dha ni~ dha Pa, Pa dha Ma Pa ga~, Sa ga Sa ga Ma ma Ma ga~ re Sa, dha’ ni’ Sa ga Re ga Sa re Sa.
8. Sa re ga Pa, Sa re ga Pa ni dha Pa, Pa dha Ma Pa ga~, Re ga Ma ma Ma ga~ re Sa, dha’ ni’ Sa ga~ re Sa.
9. Pa dha Ni Sa”, Ni Sa”~ dha Pa, Pa dha Ni Sa” Re” Ni Sa~ dha Pa, Dha – – ni Sa” dha Pa, Ma Dha ni Sa”~ dha Pa, Pa dha Ma Pa ga~, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa.
Following recording shows Kirit with students doing demonstration and practice of combining and improvising upon different phrases taken from various lines above (slow tempo) and below (faster tempo) to form a singular movement or flow of the notes of the raga:
(At the end Kirit also gives a quick but important hint on the practice of the exercises and of music in general.)
Faster tempo:
10. Sa dha Pa dha Ma Pa ga Ma Pa ni dha Pa ga Ma re Sa, dha’ ni’ Sa ga Re ga Sa re Sa.
11. ga Ma dha ni Sa” ga” re” Sa” – -, Sa” re” ni Sa” re”, ni Sa” dha ni Pa, Pa ni dha Pa, Ma dha Pa Ma, ga Pa Ma, Re Ma ga, Sa re Sa, Sa dha Pa dha Ma Pa ga Ma Pa – – -.
12. ni’ Sa ga Ma Pa dha Pa Ma, ga Ma Pa ni dha Pa – -, Pa ga” re” ga” Sa” re” ni Sa” – -, Pa dha ni Sa” ga”~ re” Sa” – -, Sa” re”, ni ”s”, dha ni, Pa dha, Ma Pa, ga Ma ga, Sa ga Ma Pa ga Ma re Sa, Sa ga Ma Pa ga Ma re Sa, Sa ga Ma Pa ga Ma re – – Sa.