UNIVERSITY COLLEGE OF ENGINEERING SCIENCE AND

TECHNOLOGY
(AUTONOMOUS)
JAWAHARLAL NEHRU TECHNOLOGICAL UNIVERSITY
HYDERABAD
KUKATPALLY, 500085

REPORT ON
Raag Bhairav Tones Generation
Speech and Image Processing Laboratory

M.Tech I Year I Semester

By
Sujith
Gurrapu
23011D4503
M.Tech I Year I semester (AY-2023-24)
1
INTRODUCTION
India is a beautiful cultural hub - an array of diverse genres of music, with each part of
the country having a unique musical heritage. Hindustani Classical Music is one of such genres
- predominantly practiced in the Northern parts of India.
This genre of music has given rise to famous musicians and singers like Ravi Shankar,
Bhimsen Joshi, Hariprasad Chaurasia, and so on.
In this project, we will be breaking down Ragas in Raag Bhairav. But before we
proceed, let’s take a short recap on what are Ragas.
Ragas are frameworks of keynotes - a set of musical notes put together in a singing
pattern - that denote them. The ascending and descending order of these musical notes is the
same in Hindustani and Carnatic music. When arranged in ascending order of their notes, the
Ragas are in an “aroh” pattern. When the notes are arranged in a descending fashion, they are
in an “avaroh” pattern. It is also important to remember that these ragas are usually suggested
to be practiced at certain hours of the day.
In Carnatic music, Ragas are classified based on their Swaras whereas, in Hindustani
Music, Ragas are arranged according to their “Thaat”. Now, We have to know about Thaat
Thaat is similar to a Parent Raga - it is a group of musical notes and there are ten different
assortments of ragas based on it. Now Thaats are sung in a specific way - depending on the kind
of raga they are covering. This practice is called Pakkad.
These primary divisions of Ragas are:
1. Raag Asaravi
2. Raag Bhairav
3. Raag Bhairavi
4. Raag Bilawal
5. Raag Kafi
6. Raag Kalyan
7. Raag Khamaj
8. Raag Marwa
9. Raag Purvi
10. Raag Todi
Raag Bhairavi is again, another assortment of the raga that is equally and evenly paced
through its singing patterns. Usually termed as the feminine alternate of the Raag Bhairav, it is
the opposite of its counterpart.
This is because Raag Bhairavi is practiced in the late morning hours.
This is also the last raga you practice for the day.
In its ascending order, Raag Bhairavi is aligned in this pattern: ‘Sa’- ‘Re’ - ‘Ga’ - ‘Ma’ - ‘Pa’ -
‘Dha’ - ‘Ni’.
In its descending order, it’s arranged as: ‘Sa’ - ‘Ni’ - ‘Dha’ - ‘Pa’ - ‘Ma’ - ‘Ga’ - ‘Re’.

2
INTRODUCTION
India is a beautiful cultural hub - an array of diverse genres of music, with each part of
the country having a unique musical heritage. Hindustani Classical Music is one of such genres
- predominantly practiced in the Northern parts of India.
This genre of music has given rise to famous musicians and singers like Ravi Shankar,
Bhimsen Joshi, Hariprasad Chaurasia, and so on.
In this project, we will be breaking down Ragas in Raag Bhairav. But before we
proceed, let’s take a short recap on what are Ragas.
Ragas are frameworks of keynotes - a set of musical notes put together in a singing
pattern - that denote them. The ascending and descending order of these musical notes is the
same in Hindustani and Carnatic music. When arranged in ascending order of their notes, the
Ragas are in an “aroh” pattern. When the notes are arranged in a descending fashion, they are
in an “avaroh” pattern. It is also important to remember that these ragas are usually suggested
to be practiced at certain hours of the day.
In Carnatic music, Ragas are classified based on their Swaras whereas, in Hindustani
Music, Ragas are arranged according to their “Thaat”. Now, We have to know about Thaat
Thaat is similar to a Parent Raga - it is a group of musical notes and there are ten different
assortments of ragas based on it. Now Thaats are sung in a specific way - depending on the kind
of raga they are covering. This practice is called Pakkad.
These primary divisions of Ragas are:
11. Raag Asaravi
12. Raag Bhairav
13. Raag Bhairavi
14. Raag Bilawal
15. Raag Kafi
16. Raag Kalyan
17. Raag Khamaj
18. Raag Marwa
19. Raag Purvi
20. Raag Todi
Raag Bhairavi is again, another assortment of the raga that is equally and evenly paced
through its singing patterns. Usually termed as the feminine alternate of the Raag Bhairav, it is
the opposite of its counterpart.
This is because Raag Bhairavi is practiced in the late morning hours.
This is also the last raga you practice for the day.
In its ascending order, Raag Bhairavi is aligned in this pattern: ‘Sa’- ‘Re’ - ‘Ga’ - ‘Ma’ - ‘Pa’ -
‘Dha’ - ‘Ni’.
In its descending order, it’s arranged as: ‘Sa’ - ‘Ni’ - ‘Dha’ - ‘Pa’ - ‘Ma’ - ‘Ga’ - ‘Re’.

3
% Sujith Gurrapu
% 23011D4503

clc;
clear all;
close all;

t=0:1/44100:0.5;

sa=sin(2*pi*261.63*t); %sa
figure
plot(t,sa);

re=sin(2*pi*293.66*t); % re
figure
plot(t,re);

ga=sin(2*pi*329.63*t); % ga
figure
plot(t,ga);

ma=sin(2*pi*349.23*t); % ma
figure
plot(t,ma);

paa=sin(2*pi*392*t); % paa
figure
plot(t,paa);

dha=sin(2*pi*440*t); % dha
figure
plot(t,dha);

ni=sin(2*pi*493.88*t); % ni
figure
plot(t,ni);

sound(sa,44100);
%pause(0.5);
sound(re,44100);
%pause(0.5);
sound(ga,44100);
%pause(0.5);
sound(ma,44100);
%pause(0.5);
sound(paa,44100);
%pause(1);
sound(dha,44100);
%pause(1);
sound(ni,44100);

4
%pause(1);
sound(sa,44100);
%pause(1);

sound(sa,44100);
%pause(1);
sound(ni,44100);
%pause(1);
sound(dha,44100);
%pause(1);
sound(paa,44100);
%pause(1);
sound(ma,44100);
%pause(1);
sound(ga,44100);
%pause(1);
sound(re,44100);
%pause(1);

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Published with MATLAB® R2023b