What is Moorchhana(मूर्छना)?

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  What is Moorchhana(मूर्छना)? Moorchhana is nothing but the process of singing aroha and avaroha of notes.it is a technique in which the shadja(SA) is shifted to another note and this process forms a new scale. APPLICATION OF MOORCHHANA- Lets have a look at the seven notes, SA RE GA MA PA DHA NI SA' If we take Rishabh to be shadja, the rest of the notes shift with respect to Rishabh and we get a new scale. this whole process is referred as MOORCHHANA. Applying the moorchhana on the shuddha swara scale ,we get the scale of raga  KAAFI(काफी). i.e.      SA RE ga MA PA DHA ni SA' The moorchhana occures when a musician think about creating a new scale from another scale.its a process of creating new scales.
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RAGA BHAIRAV

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 Raga BHAIRAV(भैरव)


Thaat- bhairav(भैरव)

     
  ' re and dha are komal,other swara are shudha '


Aroha-           SA re GA MA, PA dha NI SA'


Avaroha-       SA' NI dha PA, MA GA re SA


Pakad-           GA MA dha dha PA, GA MA re re SA


VISHRANTI 
(न्यास स्वर)-           SA,MA,PA,dha - SA',dha,PA,re


JATI-                 SAMPOORNA(सम्पूर्ण)


VAADI-               dha (komal dhaivat)


SAMVADI-         re (komal rishabh)


TIME-                MORNING(1st Prahar of the day)


MOOD-              seriousness,introversion and devotional feeling


SIMILAR-         15th carnatic melakarta  MAYAMALVGOULA(मायामालवगौण),
Ramkali(रामकली),Gauri(गौरी),Jogiya(जोगिया),Kalingda(कालिंगड़ा)


VARIANT-      Ahir bhairav(अहीर भैरव),Nat bhairav( नट भैरव),Bairagi bhairav(बैरागी भैरव),Anand bhairav(आनंद भैरव)


Sangeet vidha -     Drupad(ध्रुपद),  Dhamar(धमार), khyal( ख्याल), tarana(तराना)                                        
         

   Bhairav is an ancient raga of indian classical music. In the middle time period of indian classical music when the RAGA- RAGINI SYSTEM was  popular, raga bhairav was considered amongst Ragas not Ragini. it is a defining raga or can say ASHRAYA RAGA of its THAAT BHAIRAV.it is vast and can be expandible in all 3 SAPTAK(octaves).althought it has more number Of 'nyas sthan' (the swar on which a vocalist stay while performing a raga) the more combinations of swara can be formed while performing. according to the time theory of indian ragas, the time of raga bhairav is set in the morning, usually when the sun rises.this is the reason that this raga is called SANDHI PRAKASH RAGA(संधि प्रकाश राग) the term SANDHI PRAKASH stands for 'the twilight period of day and night or can say time period before and after sunrise.'
 
   PRACTICAL ASPECT OF RAGA BHAIRAV
The raga is of Sampoorna jaati which means that 7 swara are used in aroha and avaroha both.the nyasa sthan are SA -MA -PA -dha and SA' -dha- PA -re.the more would be the nyasa sthan the more combinations the raga would carry.so bhairav can have a lot of musical combinations like

1-   SA GA MA PA dha dha PA ,
2-   re GA MA PA GA Ma re re SA , 
3-   SA 'dha NI SA re re SA ,  
4-   MA PA dha PA MA GA MA PA ,  
5-   'dha 'dha 'NI SA re SA......etc.

The most important and specific charachter of raga bhairav is that dhaivat(dha) and rishabh(re) are oscillating at thier positions.the oscillation of rishabh(re) in avaroha's uccharana is vital, represents Bhairav’s signature, and at once defines the raganga bhairav.

There is occasionally skipping of rishabh(re) and pancham(Pa) in aroha -
SA GA MA dha PA   or   GA MA dha NI SA'

But in avaroha, there is deergha uccharan (दीर्घ उच्चारण) of rishabh(re) and pancham(PA).
As- SA' NI dha PA  and  PA MA GA MA re re SA.

There is a skipping of Gandhar(GA) in avaroha.As-  GA MA re SA here coming from MA to re the gandhar(GA) is skipped.

Gandhar(GA) is oftenly vakra in avaroha.As- 
MA PA GA MA re re SA.

Sometimes the komal nishad(ni) which is varjit(वर्जित)  in this raga can be used as kan swar(कण स्वर) while oscillating komal dhaivat(dha) AS-
GA MA (ni)dha, (ni)dha, PA, PA GA MA (GA)re, SA 

  In avarohi, there exist a meend (मींड) while rendering from SA' to dha.AS- NI SA' (NI)dha PA.
  
Madhyam(MA) is an important note in this raga ,the combination sounds beautiful when we skip pancham(PA) in avaroha .
- GA MA re re SA.

Since the dhaivat(dha) is vadi, the raga bhairav is an UTTARANG PRADHAN raga
.which means it is expanded mostly in the second half of the saptak(i.e. in between PA and SA' ).the best part is being an uttarang pradhan raga, bhairav can be expanded in all 3 octaves.

There is skipping of nishad(NI) in avaroha like-  SA' dha dha PA  , also here are some more examples of prayog of NI -
dha NI SA', SA' NI dha dha PA ,MA PA dha dha SA' .

Ragang-vachak group of notes -
Poorvang-   GA MA PA GA MA re,re,re SA
Uttarang-MA PA dha dha NI SA' NI dha dha PA

Combinations-

 SA re re SA 'dha 'dha 'NI SA ,SA re re GA MA GA MA re re SA 'dha 'dha 'NI SA re re SA, 'NI SA GA MA PA , GA MA dha dha PA dha dha PA MA PA,GA MA re re SA,MA PA dha dha NI SA' NI SA' dha dha SA' NI dha dha PA ,dha MA PA GA MA dha dha PA,GA MA PA GA MA re re SA, 'dha 'dha 'PA 'dha 'dha 'NI SA re re SA.


MOODS OF RAGA BHAIRAV-

The name 'BHAIRAV' is the epithet of LORD SHIVA which is associated with his fierce,
BHAYANAK SWAROOPA. The raga bhairav is referred as ADI-RAGA as its amongst oldest ragas of indian classical music.

This raga is extremely vast and allows a huge number of Swar combinations and a great range of emotional qualities from valor to peace.
           
According to indian classical music vocalist Pandit Jasraj, Bhairav is a morning raga and solemn peacefulness is its ideal mood.
            
The raga comes across as a musical entity with mood of meditation,philosophical depth and emotional richness.
                   
The canvas of bhairav is so vast as it can be sung in any season.

POPULAR INDIAN BANDISH AND SONGS BASED ON RAGA BHAIRAV-
 
Basic bandishes of raga bhairav which are being taught to students in the very begining are   'jaago mohan pyare(जागो मोहन प्यारे )'    and  'dhana dhana moorat krishna murari(धन धन मूरत कृष्ण मुरारी)' are popular since many years.

Apart from the above bandishes here i'm attaching some of bollywood songs based on raga bhairav :

1- ae malik tere bande hum(ऐ मालिक तेरे बंदे हम)
2- pooncho na kaise maine rain bitayi(पूँछो न कैसे मैने रैन 
3-jaago mohan pyare bollywood song by lata mangeshkar
latamangeshkar
5-waqt karta jo wafaby mukesh etc.

Note- the notation of bollywood songs may vary from the raga because there is no restriction for compositions to be bound to a single raga as it is in classical music system.

Some Alankars to practice for raga bhairav-

Alankars are the key to achieve good
command on swara. since a raga is composed of swar combinations one can do a continuous Practice of alankars which are created in the same swara the raga has.
AROHA ALANKAR-

1- SAreSA, reGAre, GAMAGA, MAPAMA,
    PAdhaPA, dhaNIdha, NISA'NI, SA're'SA'

2- SAreGAMA, reGAMAPA ,GAMAPAdha ,MAPAdhaNI , PAdhaNISA'
 
3- SArereSA, reGAGAre, GAMAMAGA, MAPAPAMA,
 PAdhadhaPA, dhaNINIdha, NISA'SA'NI, SA're're'SA'

4-SAreGAreSA, reGAMAGAre, GAMAPAMAGA, MAPAdhaPAMA, PAdhaNIdhaPA, dhaNISA'NIdha, NISA're'SA'NI, SA're'GA're'SA'


AVAROHA ALANKAR-

1- SA're'SA' , NISA'NI ,dhaNIdha ,PAdhaPA ,
    MAPAMA, GAMAGA ,reGAre ,SAreSA
 
2- SA'NIdhaPA , NIdhaPAMA ,dhaPAMAGA ,
    PAMAGAre , MAGAreSA

3- SA're're'SA', NISA'SA'NI , dhaNINIdha, PAdhadhaPA , MAPAPAMA ,GAMAMAGA, reGAGAre , SArereSA

4- SA're'GA're'SA', NISA're'SA'NI, dhaNISA'NIdha, PAdhaNIdhaPA , MAPAdhaPAMA ,GAMAPAMAGA ,reGAMAGAre ,SAreGAreSA

        The students can practice the above mentioned alankars to achieve good command over swara and practicing with taal would be the best.

Note: an APOSTROPHE (') sign before a note shows mandra saptak and placing it after the notes would show taar saptak swar AS: ( 'NI ) denotes mandra saptak nishad and   (re') shows taar saptak rishabh.these signs are used in bhatkhande system of swar notation in hindustani classical music.
           










             
                  


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  What is Moorchhana(मूर्छना)? Moorchhana is nothing but the process of singing aroha and avaroha of notes.it is a technique in which the shadja(SA) is shifted to another note and this process forms a new scale. APPLICATION OF MOORCHHANA- Lets have a look at the seven notes, SA RE GA MA PA DHA NI SA' If we take Rishabh to be shadja, the rest of the notes shift with respect to Rishabh and we get a new scale. this whole process is referred as MOORCHHANA. Applying the moorchhana on the shuddha swara scale ,we get the scale of raga  KAAFI(काफी). i.e.      SA RE ga MA PA DHA ni SA' The moorchhana occures when a musician think about creating a new scale from another scale.its a process of creating new scales.
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