Bhairavi

A raga with komal Re, Ga, Dha and Ni, heard in classical and lighter treatments.

Reading the swaras

S R G M P D N are shuddha notes, r g d n are komal notes, and M^ is tivra Ma. ↑ marks the upper octave and ↓ the lower; unmarked notes are in the middle octave. — continues the previous sound, · marks an unsung position, and parentheses indicate grace notes.

Overview

Bhairavi is among the most beloved and emotionally direct ragas — tender, devotional, plaintive. In its pure form it uses the four komal swaras (r g d n) with shuddha Ma and Pa, but in performance, especially semi-classical, singers treat it with great freedom, drawing in the shuddha versions of notes as expressive colour (so-called "Sampurna Bhairavi" using all twelve). By convention it closes a recital.

Notes and identity

Field	Value
Thaat	Bhairavi
Swaras used	komal Re, Ga, Dha, Ni (`r g d n`); shuddha Ma, Pa
In practice	often all twelve notes used (shuddha notes as expressive touches), esp. in thumri-ang
Jati	Sampurna–Sampurna
Aroha	S r g M P d n S↑ (pure-Bhairavi outline; the use of additional notes in performance is discussed below)
Avaroha	S↑ n d P M g r S (basic pure-Bhairavi outline; individual compositions may use other movements)
Vadi	Ma (M)
Samvadi	Sa (S)
Time	Morning by tradition; by convention the concluding piece, sung at any time as the finale

Grammar & signature

Pure frame S r g M P d n; expressive practice borrows shuddha Re/Ga/Dha/Ni as touches. How much freedom is appropriate is stylistic.
Pure frame echoed here: canonical aroha S r g M P d n S↑, avaroha S↑ n d P M g r S — kept distinct from the liberal all-twelve treatment above.
Ma and Sa are anchors; the M g r S and P d n S↑ movements are characteristic.

Pakad / chalan (illustrative)

These phrases illustrate the treatment described on this page. Phrase shape and emphasis can differ between teachers.

M g r S, P d n S↑, S r g M P (pure frame)
Rest on Ma and Sa; these movements sit in the pure four-komal Bhairavi.

Phrase examples

Belongs: S r g M P d n S↑ (pure ascent), S↑ n d P M g r S (pure descent), M g r S.
Avoid / careful: the liberal all-twelve (thumri-ang) touches are expressive colour, not the pure identity — keep them distinct from the komal frame.
Common learner errors: treating borrowed shuddha notes as core; losing the komal frame under ornament.

Allied ragas & differentiation

Sindhu Bhairavi, Bilaskhani Todi and other komal-heavy ragas; Bhairavi's liberal all-note treatment is its own distinguishing feature.

Related music

Talas: Deepchandi, Kaharwa, Teental. Forms: Thumri, bhajan; also Khayal.
Concepts: komal swar, thumri-ang treatment — see Komal.