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Ānandabhairavī

Janya of Naṭabhairavī (20) — vakra, bhāṣāṅga (D₂ anya)

Sweet, often kṛti-format

✓ Verified against Subbarama Dīkṣitar, SSP (1904)· 2026-07-02How we verify

Ārōhaṇa (ascending)

  1. S
  2. R₂
  3. G₂
  4. M₁
  5. P
  6. D₂
  7. N₂
  8. Ṡ

Avarōhaṇa (descending)

  1. Ṡ
  2. N₂
  3. D₂
  4. P
  5. M₁
  6. G₂
  7. R₂
  8. S

Signature phrase

S G₂ R₂ G₂ M₁ P D₂ N₂ Ṡ

The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.

When to play

Main or post-main slot for emotional kṛtis; ideal for padam/javali evenings. Avoid as a flashy opening raga.

Time: Evening.Rasa: Bhakti, karuṇa, and vātsalya.Position: main

Gamaka signature

Ga and Ni take wide, slow andolan; Ri is often plain. The phrase G M P / D N S carries the raga's heart.

Historical context

A concert staple of the bhakti repertoire; Śyāmā Śāstri's association is especially strong. Related to Bhairavī but warmer and less closing-raga in modern programming.

Key compositions to hear first

  • Marivēre Gati — Śyāmā Śāstri
  • Ō Jagadambā — Śyāmā Śāstri

Listen to Ānandabhairavī

Arōhaṇa-avarōhaṇa exposition with tampura drone.

Kṛtis in this rāga· 10 entries across 5 composers

Tip: open the raga × composer cross-search on /composers to explore any other raga.

Sangeet Parijat — Ahobala's notes

Graha (opening)
Sa
Aṁśa (king svara)
Ga
Nyāsa (rest svara)
Sa
Time
All times
Gīti
Gauḍī
Gamaka
andolan

Vakra approach to Ga is essential. All-time raga; karuṇā-jāti shrutis dominate.

Compose in this ragaPractice this raga

Similar ragas

Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.

Ānandabhairavī — Karunattu