Raag Bhairaviभैरवी
Sourced · not yet reviewed by a musician
Bhairavi 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: IGNOU OMU-001 +5
- IGNOU OMU-001, §1.3 e) Bhairvi, Aroh; printed p.7
- Artium Academy, Raag Bhairavi page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- KalaSudha, Quick Facts / Technical Details, Aroha (Ascent)
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Prabhāta Saṃgiita (article by Kirit), Raga Bhairavi, labelled aroha
- 6 of 7 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: IGNOU OMU-001 +6
- IGNOU OMU-001, §1.3 e) Bhairvi, Avroh; printed p.7
- Artium Academy, Raag Bhairavi page, avaroha
- Krsna Kirtana Songs, Raga facts, Avaroha
- Rāga Junglism / George Howlett, Melodic summary, Avroh
- KalaSudha, Quick Facts / Technical Details, Avroh (Descent)
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Prabhāta Saṃgiita (article by Kirit), Raga Bhairavi, labelled avaroha
- All 7 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
- Sa ga - Ma Pa Ma ga Ma re Sa; ga Ma Pa dha Pa; Ma ga - Sa re Sa
Source: AUTRIM
- AUTRIM, Bhairavi page, characteristic phrases
- 5 versions in 5 sources
About Bhairavi
In its strict form, Bhairavi uses four 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 notes: Re, Ga, Dha and Ni. AUTRIM says this strict form is now rarely performed, and common and lighter versions add other notes. Musicians often close a concert with Bhairavi.
Learner focus
Learn the four-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-note core first, then notice mixed versions that add shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and other notes.
Source: AUTRIM
- AUTRIM, Bhairavi page, opening description
Caution
Extra notes depend on the style: both forms of Re are common, tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary and shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha appear in lighter forms, and shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni may appear in instrumental music.
Source: AUTRIM
- AUTRIM, Bhairavi page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing the ascent Sa re ga Ma Pa dha ni Sa' using only 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, Ga, Dha and Ni.
- Sing Sa ga Ma Pa Ma ga Ma re Sa slowly.
- In a light-classical recording, mark every note outside the four-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 core.
Based on: IGNOU OMU-001 +7
- IGNOU OMU-001, §1.3 e) Bhairvi, Aroh; printed p.7
- Artium Academy, Raag Bhairavi page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- KalaSudha, Quick Facts / Technical Details, Aroha (Ascent)
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Prabhāta Saṃgiita (article by Kirit), Raga Bhairavi, labelled aroha
- AUTRIM, Bhairavi page, characteristic phrases
- AUTRIM, Bhairavi page, opening description
Variants
- Shuddha Bhairavi uses the core four-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-note set; common Sindhi/Mishra forms introduce shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re, tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary and shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha, with shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni also possible instrumentally.
Source: AUTRIM
- AUTRIM, Bhairavi page, opening description
- Traditionally morning; accepted performance at any time of day or night.
Source: AUTRIM
- AUTRIM, Bhairavi page, time
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 5 sources agree
- JatiAll 5 sources agree
- Time7 of 7 sources agree
- Aroha6 of 7 sources agree
- AvarohaAll 7 sources agree
- Pakad5 versions in 5 sources
- Vadi6 of 6 sources agree
- SamvadiAll 5 sources agree
Similar raags named by the sources
- Asavari (komal Re form): 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 Asavari shares notes and some movement, but forbids Bhairavi’s additional tones.
Source: AUTRIM
- AUTRIM, Bhairavi page, description
- Bilaskhani Todi: Shared tone material and some movement, without Bhairavi’s mixed-note freedom.
Source: AUTRIM
- AUTRIM, Bhairavi page, description
Not stated in our sources yet
The sources we cite do not state: other names. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Bhairavi. 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-215 · CD
Manilal Nag — Woodstock
Manilal Nag (sitar);Ray Spiegel (tabla)
Bhairavi
Dhun; taal not specified on the inspected page
RAGA-216 · 2 CDs
Nikhil Banerjee — Bombay, 1965
Nikhil Banerjee (sitar);Nikhil Ghosh (tabla)
Bhairavi
Alap and gats in thumri style
Study BhairaviTaal: RupakTaalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary: Pancham SawariTaal: Teentaal
RAGA-227 · CD
Nikhil Banerjee — Madras, 30 December 1964
Nikhil Banerjee (sitar);Prem Vallabh (tabla)
Bhairavi
Gayaki ang gat in medium and fast rupak
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Praise for Sarasvati
AUTRIM presents Uday Bhawalkar singing a dhrupadDhrupadA Hindustani vocal form built around composed text, raag and taal, traditionally with pakhawaj accompaniment.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary in Bhairavi that praises Sarasvati, also called Sharada. Its lyric notes describe her through names associated with knowledge, compassion and relief from sorrow.
Documented · Source: Uday Bhawalkar performance: dhrupad praising Sarasvati
A recorder remembers Banerjee
The notes for Nikhil Banerjee's 1964 Madras concert, which includes Bhairavi, reproduce a letter from its recorder, Felix van Lamsweerde. He recalls Banerjee questioning whether he was ready to be recorded and suggesting that he record him later.
As told by Felix van Lamsweerde, undated letter reproduced in Raga Records Raga-227 liner notes; concert recorded 30 December 1964 · Source: Raga-227: opening Bhairavi listing, Felix van Lamsweerde letter and recording credits
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.
- Bhairavi: 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.
- OMU-001 Introduction to Hindustani Music, Block 3 Applied Theory, Unit 1 RagaIndira Gandhi National Open University (eGyanKosh) · cited as IGNOU OMU-001University self-learning material. All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Raag BhairaviArtium 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.
- Raga BhairaviKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Raag Bhairavi: Thaat, Time & Notes | KalaSudhaKalaSudha · cited as KalaSudhaPublic raga page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
- Indian Classical Music in Prabhāta Saṃgiita, by KiritPrabhāta Saṃgiita (article by Kirit) · cited as Prabhāta Saṃgiita (article by Kirit)Public teaching article. robots.txt returned 404, with no restrictive terms link found in the inspected page. No open licence assumed: cite factual fields, paraphrase prose; text is local audit evidence. The article explicitly defines lowercase re/ga/dha/ni as komal and lowercase ma as tivra; single trailing prime is lower octave, double quote is upper. Printed apparent musical errors are not corrected. Accessed 17 October 2026.
- Bhairavi | SrgmPdnS | Hindustani Raga Index | 365+ RagasRāga Junglism / George Howlett · cited as Rāga Junglism / George HowlettOpen-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this raga page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalan are not new independent votes. Accessed 17 October 2026.
- Different Kinds of Ragas by Structure - Raag HindustaniRaag Hindustani / Sādhana · cited as Raag Hindustani / SādhanaPublic teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadi, samvadi or pakad is inferred from the teaching examples. Accessed 17 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.
- Vocal Music syllabus: VisharadPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.