Raag Ahir Bhairavअहीर भैरव
Sourced · not yet reviewed by a musician
Bhairav thaat · Sampurna-Sampurna · Dawn
- Late night
- Dawn
- Morning
Swaras and phrases
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Ma · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Sa
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa re Ga Ma Pa Dha ni Sa'
Source: Artium Academy +4
- Artium Academy, Raag Aheer Bhairav page, aroha
- AGK Sangeet, Raag Aheer Bhairav | AGK Sangeet, aroha
- Darbar, Ahir Bhairav - Darbar, aroha
- Shankar Mahadevan Academy, Raga Ahir Bhairav: The Serene Morning Raga Guide, aroha
- Ragakosh, Raga Ahir Bhairav - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, aroha
- All 5 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni Dha Pa Ma Ga re Sa
Source: AUTRIM +4
- AUTRIM, Ahir Bhairav page, opening description
- Artium Academy, Raag Aheer Bhairav page, avaroha
- Darbar, Ahir Bhairav - Darbar, avaroha
- Shankar Mahadevan Academy, Raga Ahir Bhairav: The Serene Morning Raga Guide, avaroha
- Ragakosh, Raga Ahir Bhairav - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, avaroha
- 5 of 6 sources agree
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- ni Sa Dha ni / re Sa; re \ ni Dha; re \ ni Sa re Ga -; ni Sa re Ga Ma \ re Sa
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, characteristic phrases
- 3 versions in 3 sources
About Ahir Bhairav
Ahir Bhairav may leave out Pa going up. It can come down directly or through turns around Ma and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re. AUTRIM calls Pa and Sa important, with Ga also held.
Source: AUTRIM +2
Also called Aheer Bhairav.
Source: Artium Academy
- Artium Academy, Raag Aheer Bhairav page, title
Curriculum: not found in the Pracheen Kala Kendra vocal syllabuses we cite.
How it moves
AUTRIM says Pa is sometimes left out of the ascent.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, opening description
AUTRIM also gives Sa' ni Dha Pa Ma, Ga Ma \ re Sa and Sa' ni Pa Ma Ga Ma \ re Sa.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, opening description
Learner focus
Learn the turn through Dha, komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re, and keep komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re clear so the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary keeps its identity.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, description
Caution
KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni can make a phrase sound like Kafi or Khamaj. KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary re and the Dha ni re turn keep it Ahir Bhairav.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing ni Sa Dha ni, glide up to komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re, and end on Sa.
- Sing the descent Sa' ni Dha Pa Ma Ga re Sa.
- KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni can make a phrase sound like Kafi or Khamaj. Sing komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re clearly to keep it Ahir Bhairav.
Based on: AUTRIM +6
- AUTRIM, Ahir Bhairav page, characteristic phrases
- AUTRIM, Ahir Bhairav page, opening description
- Artium Academy, Raag Aheer Bhairav page, avaroha
- Darbar, Ahir Bhairav - Darbar, avaroha
- Shankar Mahadevan Academy, Raga Ahir Bhairav: The Serene Morning Raga Guide, avaroha
- Ragakosh, Raga Ahir Bhairav - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, avaroha
- AUTRIM, Ahir Bhairav page, description
Variants
- Accounts connect it with obsolete Ahiri/Bhairav or with Bhairav and Kafi tetrachords; those are source-attributed interpretations.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, opening description
- Pa may be omitted in ascent, and descent has direct and oblique alternatives.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 4 sources agree
- JatiAll 5 sources agree
- Time7 of 7 sources agree
- ArohaAll 5 sources agree
- Avaroha5 of 6 sources agree
- Pakad3 versions in 3 sources
- Vadi5 of 5 sources agree
- SamvadiAll 5 sources agree
Similar raags named by the sources
- Kafi: KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni in the upper half of the scale can suggest Kafi; komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and the Dha ni / re turn keep it Ahir Bhairav.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, description
- Khamaj: The upper tetrachord can suggest Khamaj; komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and characteristic movement distinguish it.
Source: AUTRIM
- AUTRIM, Ahir Bhairav page, description
Film songs
Film songs where a checked source names Ahir Bhairav. Each song shows whether a musician has reviewed it yet.
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-206 · CD
Buddhadev Das Gupta — Ahir Bhairav
Buddhadev Das Gupta (sarod);Anand Gopal Bandopadhyay (tabla)
Ahir Bhairav
Alap, jor and gats
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Ahir Bhairav at home
Raga Records documents Buddhadev Das Gupta's Ahir Bhairav recording at the Jersey City home of Ashish and Tulsi Sen Gupta on 12 November 1989. The artist catalogue names Anand Gopal Bandopadhyay as his tabla accompanist.
Documented · Source: Raga-206 booklet: musician profiles, Ahir Bhairav paragraph and recording credits · Source: Artist catalogue: Raga-206 sarod, tabla and Ahir Bhairav listing
More than one account of its origins
AUTRIM describes Ahir Bhairav as supposedly combining Ahiri and Bhairav, and relays D. C. Vedi's view that it is relatively recent. It also reports another account combining Bhairav and Kafi, so the page does not offer a single certain origin.
Uncertain · Source: Opening accounts of Ahir Bhairav and its possible constituent raags
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Ahir Bhairav: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Raag Aheer BhairavArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raag Aheer Bhairav | AGK SangeetAGK Sangeet · cited as AGK SangeetPublic raag page; robots permits /raag/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
- Ahir Bhairav - DarbarDarbar · cited as DarbarPublic Raga Explorer text; /raga/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
- Raga Ahir Bhairav: The Serene Morning Raga GuideShankar Mahadevan Academy · cited as Shankar Mahadevan AcademyRobots allows public raga pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
- Raga Ahir Bhairav - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by RagakoshRagakosh · cited as RagakoshRobots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.