Bhairavi (Hindustani)

For the goddess, see Bhairavi.

For Carnatic music ragam (South Indian classical music), see Bhairavi (Carnatic).

Raag Bhairavi
Thaat	Bhairavi
Aaroha	Sa Re Ga Ma Pa Dha Ni Sa
Avroha	Sa Ni Dha Pa Ma Ga Re Sa
Pakad	Ni Re Ga Ma Pa Ma Ga Re Sa
Vaadi	Ga
Samvaadi	Ni
Prahar (Time)	Evening (Pratham Prahar)

Raag Bhairavi (Hindi: भैरबी) is a Hindustani Classical heptatonic (Sampurna) Raag of Bhairavi Thaat. Traditionally it is a morning raga. In modern times, at least in Khyal Gayaki, it is usually performed as the concluding (finale) piece in concerts. It is the defining raga of its own Thaat.

Carnatic music has a Bhairavi raga which is quite different from the Hindustani raga.

Hanumatodi in Carnatic music has the same scale as the Bhairavi in Hindustani music.

Theory

Writing about the musical theory of Hindustani music is fraught with complications. First of all, there have been no set, formal methods of written notation. Hindustani music is an aural tradition, and therefore writing is not an essential part of learning.

Arohana & Avarohana

Arohana

Sa, Komal Re, Komal Ga, Ma, Pa, Komal Dha, Komal Ni
 C,       D♭,       E♭,  F,  G,        A♭,       A♯

Avarohana

Sa, Komal Ni, Komal Dha, Pa, MA, Komal Ga, Komal Re
 C,       A♯,        A♭,  G,  F,       E♭,       D♭

Pakad or Chalan

Komal Dha - Komal Ni - Sa

Sa - Komal Re - Sa

Sa - Komal Re - Kali - Ma - Kali - Pa - Komal Ga - Komal Ni - Komal Ga

Organization & Relationships

Related ragas:

• Bhairavi
• Shuddha Bhairavi
• Sindhu Bhairavi
• Nat Bhairavi

Thaat: Bhairavi

Behavior

Behavior refers to practical aspects of the music. It is complicated to talk about this for Hindustani music since many of the concepts are fluid, changing, or archaic. The following information cannot be accurate, but it can attempt to reflect how the music existed. The Performance for this raga is unusually relaxed, some musicians take the liberty of using shuddha Re in ascent, and even the sequence Ma - Teevra Ma. These deviations, however, are not typical of the raga. Musicians are also inclined to sometimes avoid Pa in ascent.

Samay (Time)

Bhairavi is a early morning raag.But it is also used as a concluding piece and as such has been performed even at night,but always in semi or light-classical rendering.If one has to sing or play bhairavi as a main piece it has to be in the morning time.

Seasonality

Certain ragas have seasonal associations. But in this regard, Bhairavi may also be treated as an all-time raga, as it is not based on the time of the year but the time of the day at which it is sung.

Rasa

Raag Bhairavi is typically performed with a peaceful, serious, and occasionally sad mood.

Film Songs

Bhairavi is a popular raga for film songs. Here are some film songs based on Bhairavi:

• Babul Mora Naihar Chhooto Jaye - Street Singer (Kundan Lal Saigal, 1938)
• "Humien Tumse Pyar Kitna" - Kudrat
• "Tu Pyar Kare Yaa Thukraaye" - Dekh Kabeera Roya
• "Dil Apna Aur Preet Paraayi" - Dil Apna Aur Preet Parayi
• "Laga Chunari Main Daag" - Dil Hi To Hai
• "Mata Saraswati" - Aalap (film)
• "Tu Ganga Ki Mauj" - Baiju Bawra
• "Dil to Bachcha hai Ji" - Ishqiya
• "Ramaiya Vasta Vaiiya" - Shri 420
• "Pyar Hua Ekraar Hua Hai" - Shri 420
• "Dil Ke Arman Ansuno Mein Bah Gaye" - Nikaah 1982

Historical Information

Origins

Bade Ghulam Ali Khan has asserted that Bhairavi originated in the folk tunes of Iran.

Important Recordings

most probably the oldest recording is of Abdul Karim Khan from 1905

References

Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors) The Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.

External links

• Detailed analysis and audio samples of Bhairavi from Rajan Parrikar Music Archive
• SRA on Samay and Ragas
• SRA on Ragas and Thaats