Naá¹Âabhairavi is a rÃÂgam in Carnatic music (musical scale of South Indian classical music). It is the 20th melakarta rÃÂgam in the 72 melakarta rÃÂgam system. It corresponds to the Natural minor scale (alias Aeolian mode) of western music system.
Natabhairavi corresponds to the Asavari thaat of Hindustani music. In the Muthuswami Dikshitar school this melakarta is instead known as NÃÂrërëtigowla. Natabhairavi is known to be a rÃÂgam that incites feelings of grandeur and devotion in the listeners.
It is the 2nd rÃÂgam in the 4th chakra Veda. The mnemonic name is Veda-Sri. The mnemonic phrase is sa ri gi ma pa dha ni. Its ' structure is as follows (see swaras in Carnatic music for details on the notations used):
(this scale uses the notes chatushruti rishabham, sadharana gandharam, shuddha madhyamam, shuddha daivatam, kaishiki nishadam)
It is a sampoorna rÃÂgam - rÃÂgam having all 7 swarams. It is the shuddha madhyamam equivalent of Shanmukhapriya, which is the 56th melakarta.
NÃÂrërëtigowla is the 20th Melakarta in the original list compiled by Venkatamakhin. The notes used in the scale are the same, but the scales have vakra prayoga (zig-zag usage of notes in the ascending and descending scale).
Natabhairavi has a number of popular janya rÃÂgams (derived scales) such as Bhairavi, Nagagandhari, Saramati, Jaunpuri, Hindolam (sometimes Hindolam is also associated as a Janya of Hanumatodi), Darbari Kanada and Jayanthasree. See List of janya rÃÂgams for a full list of Natabhairavi's janya rÃÂgams.
This section covers the theoretical and scientific aspect of this rÃÂgam.
Natabhairavi's notes when shifted using Graha bhedam, yields 5 other major melakarta rÃÂgams, namely, Kalyani, Sankarabharanam, Hanumatodi, Kharaharapriya and Harikambhoji. For further details and an illustration of Graha bhedam of this rÃÂgam refer Graha bhedam on Sankarabharanam.
Even though Natabhairavi has quite evenly spaced swara sthanas (pitch positions, notes) like the other 5 in this group, it has not found as much importance in concerts. One is likely to find Kalyani, Todi, Sankarabharanam and Karaharapriya as the main ragam in concerts, more often than Natabhairavi by a big count.
Except for madhyamam, all other swara prayoga(usage in practice) resemble Shanmukhapriya. Especially, when one uses the notes from panchamam(P) to gandharam(GâÂÂ) in ÃÂrohaá¹Âa and vice versa in Avarohana, this ragam can be easily confused to be Shanmukhapriya while actually.