The 20th melakarta ragam of the Carnatic genre Natabhairavi finds its counterpart in Asaavari, the sixth thaat (parent raga) in Hindustani music scheme. Occurring in the second place in the Veda chakram (fourth corresponding to chaturveda), the Natabhairavi in the Muthuswami Dikshitar school was referred to as Nariritigowla (which was classified as asampoorna melakarta). It corresponds to the natural minor scale of the western music system. Like all parent ragas, it carries the sapthaswara in the following mode: shadjam (sa), chathusruti rishabam (ri2), sadharana gandharam (ga2), shuddha madhyamam (ma1), shuddha daivatam (dha1) and kaisika nishadam (ni2) and of course Sa. Despite its placement in the melakarta chart and uniformly spaced out swara sthanams, Natabhairavi hardly finds a place of import in concert singing as a center-piece unlike its prati madhyama (ma2) equivalent Shanmukhapriya (56 melakarta). The ragam as such evokes grandeur and devotion.
In fact, the offshoot ragams of this melakarta are more popular and carry an import like for instance the Bhairavi, Anandabhairavi, Saramati, Jaunpuri and Jayanthasri. A few kritis in Natabhairavi have however attained popularity like Dikshitar's Neelothpalambam , Poochi Srinivasa Iyengar's Parulaseva and Sri Valli Devasenapathe (Papanasam Sivan). There are a number of old Telugu film hits based on Natabhairavi like Kanupaapu karuvaina brathukenduko , Chakkanayya chandamama ekkadunnavu and Edo oka ragam palikindeevela to name a few.
On the other hand, Asaavari is a popular thaat raag in Hindustani concerts and comes under the
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