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Raag · 6–9 am · Devotion, compassion

भैरवीBhairavi

All four swaras that can be komal, komal: a morning raag that, by long custom, closes a concert at any hour.

This landscape is drawn from the raag: the far mountain rises with its aaroh and falls with its avaroh, and the near hills follow its pakad.

58 madhya
About these soundsMeend makes the harmonium and santoor sounds itself. They aren’t recordings of real instruments, so they sound close, but not quite the same. They are here to let you hear how the swaras go.The tanpura and tabla are recordings of real ones.
SRGMPDNभैरवी

Tap a swara to hear it

Thaat
Bhairavi
Jati
Sampurna–Sampurna
Vadi and samvadi
Ma and Sa
Its hour
6–9 am, 1st prahar of the day
Its mood
Devotion, compassion

Bhairavi is a raag of the morning, and of endings. By long custom a concert closes with it, whatever the hour, so it is often the last thing an audience hears: tender, devotional, full of feeling. It is the raag of its thaat, with Re, Ga, Dha and Ni all komal, the darkest of the ten. In its lighter forms, in thumri, bhajan and dhun, every one of the twelve swaras is welcome, and a singer may touch them all.

Hear it

Aaroh
SRGMPDNS
Avaroh
SNDPMGRS
Pakad
MGSRSDNS

How it moves

Ma is Bhairavi's vadi, Sa its samvadi, and komal Re, a semitone above Sa, is its most telling swara: it falls onto Sa like a sigh.

From Ma, down by komal Ga to Sa, and komal Re falling onto it
MGSRS
From below Sa: komal Dha and Ni below, home
DNS
Climbing
SRGMP
To taar Sa
PDNS
Coming down
SNDPMGRS

Its hour

1st prahar of the day, 6–9 am12nd prahar of the day, 9 am – noon23rd prahar of the day, noon – 3 pm34th prahar of the day, 3–6 pm41st prahar of the night, 6–9 pm12nd prahar of the night, 9 pm – midnight23rd prahar of the night, midnight – 3 am34th prahar of the night, 3–6 am4midnight6 amnoon6 pmnightdayBhairavi6–9 am
1st prahar of the day, 6–9 am. Its hour’s other raags: Bhairav, Ahir Bhairav.

Bhairavi belongs to the first prahar of the day, from 6 to 9 in the morning, but is sung at the end of concerts at any hour: the one raag the clock lets go.

On the bansuri

  • S
  • R
  • G
  • M
  • P
  • D
  • N
  • S
Its swaras on the bansuri, from Sa to taar Sa: a dark hole closed, a half-dark one half closed. Every swara’s fingering, in your key →

Look-alikes

Malkauns takes five of Bhairavi's swaras, leaving out Re and Pa, and becomes a different world: grave, still, of midnight.

SRGMPDNभैरवीBhairaviVadi Ma, samvadi Sa · 6–9 am
Bhairavi’s pakad
MGSRSDNS
SRGMPDNमालकौंसMalkaunsVadi Ma, samvadi Sa · midnight – 3 am
Malkauns’s pakad
MGMDNDMGMGS
Bhairavi has komal Re and Pa.

Todi is another matter: Karnatic music's Todi has Bhairavi's swaras, but Hindustani Todi raises Ma and Ni.

SRGMPDNभैरवीBhairaviVadi Ma, samvadi Sa · 6–9 am
Bhairavi’s pakad
MGSRSDNS
SRGMPDNतोड़ीTodiVadi komal Dha, samvadi komal Ga · 9 am – noon
Todi’s pakad
DNSRGRSMGRGRS
Bhairavi has Ma and komal Ni; Todi has tivra Ma and Ni.

Practise it

  1. Long notes on Ma and Sa, then komal Re, close above Sa.
  2. The aaroh and avaroh, slowly.
  3. Paltas in its swaras, in threes.
  4. The pakad and the phrases.
Komal Re to Sa, and Ma, held
R–––S–––M–––––––
In threes, up and down
SRGRGMGMPMPDPDNDNS
SNDNDPDPMPMGMGRGRS

All ten alankars in Bhairavi, to hear in your Sa →

A short aalap
S–R–S–NS
DNSRG–RS
GMP–DPMG
MGR–S–––
A riyaz of Raag Bhairavi

Meend starts it with Aaroh–Avaroh, Pakad, Paltas in Bhairavi, Aalap and Bandish, 27 minutes a day, and listens as you play: each swara of the notation lit as it is played, the time kept, a lotus grown petal by petal.

Questions

Why does a concert end with Bhairavi?

It is a custom long kept: Bhairavi, tender and devotional, closes the evening's music, whatever the hour.

Which swaras are komal in Bhairavi?

All four that can be: Re, Ga, Dha and Ni.

Is Bhairavi the same as Bhairav?

No. Bhairav has komal Re and Dha with shuddh Ga and Ni; Bhairavi has all four komal.