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Thaat · one of Bhatkhande’s ten

भैरवीBhairavi

Every swara that can be komal, komal: the darkest of the ten, and the tenderest.

66 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

Its swaras
S r g M P d n
What sets it apart
Komal Re, Ga, Dha and Ni
How bright
-4, the darkest of the ten
In the West
The Phrygian mode: a minor scale with its second lowered too
In the South
Hanumatodi, the 8th melakarta: Karnatic music's Todi

Bhairavi lowers all four swaras that can be komal: Re, Ga, Dha and Ni. Only Sa, Ma and Pa are left as they are. It is the darkest of the ten thaats, and its raags are some of the most deeply felt in Hindustani music: raag Bhairavi itself, which by long custom closes a concert, and Malkauns, the great raag of midnight.

Its swaras

Aaroh and avaroh
SRGMPDNS
SNDPMGRS

Komal Re, a semitone above Sa, is the swara that defines Bhairavi: it falls onto Sa like a sigh. With komal Ga, Dha and Ni beside it, nothing in the scale pushes upwards; everything leans down, towards home.

In threes, up and down
SRGRGMGMPMPDPDNDNS
SNDNDPDPMPMGMGRGRS

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

How bright it is

Four komal swaras: the foot of the ladder, four steps below Bilawal.

  1. +1Kalyan
  2. 0BilawalMarwa
  3. -1KhamajPurvi
  4. -2BhairavKafiTodi
  5. -3Asavari
  6. -4Bhairavi
Brighter at the top: a step up for tivra Ma, a step down for each komal swara.

On the circle of thaats

Bhairavi sits beside Asavari: raise its Re and it is Asavari. On its other side the ring breaks: to reach Todi, two swaras must change, Ma raised to tivra and Ni to shuddh.

MaNiGaDhaReMa, NiGaDhaReMaSRGMPDNभैरवीKalyan+1Bilawal0Khamaj-1Kafi-2Asavari-3Bhairavi-4Todi-2Purvi-1Marwa0Bhairav-2
Each thaat a swara from the next, the swara that changes on the line between them. Between Bhairavi and Todi two change; Bhairav stands outside, a swara from Purvi.

Its raags

Raag Bhairavi, a morning raag, is sung at the end of a concert at any hour; in its lighter forms every one of the twelve swaras is welcome. Malkauns, five swaras with neither Re nor Pa, is a raag of deep night. Bilaskhani Todi, Bhupal Todi and Komal Rishabh Asavari belong here too.

In the West and the South

In Western music it is the Phrygian mode: a minor scale with its second lowered too, E F G A B C D on the white keys.

In Karnatic music it is the 8th melakarta, Hanumatodi, the scale of Karnatic Todi. The names cross over: Karnatic Todi is Hindustani Bhairavi, and Hindustani Todi is another scale altogether.

Practise it

Tune komal Re against Sa: it lies so close that it is easy to let it drift. Hold Sa, then komal Re, then return to Sa, until each is still.

Sa, komal Re, Sa
S–––R–––S–––R–––
Malkauns' five swaras, up and down
SGMDNSSNDMGS

To make the ten thaats a daily riyaz, Meend has them ready: begin a riyaz of the thaats.

Questions

Which swaras are komal in Bhairavi thaat?

Re, Ga, Dha and Ni: all four that can be. Sa, Ma and Pa are as they always are.

Which raags are in Bhairavi thaat?

Bhairavi, Malkauns, Bilaskhani Todi, Bhupal Todi and Komal Rishabh Asavari, among others.

Why is Karnatic Todi the same as Hindustani Bhairavi?

The names travelled differently. Karnatic Todi, the 8th melakarta Hanumatodi, has the swaras of Bhairavi thaat; Hindustani Todi has a tivra Ma and a shuddh Ni.