Raga Bhairavi

Thaat Bhairavi

Aarohi: S r g m P d n S’
Amrohi: S’ n d P m g r S

Thaat Bhairavi Sargam Video in desi virtual harmoniuim. Play thaat bhairavi ascending and descending notes.

Ragas of Thaat Bhairavi

  1. Bhairavi (Ragni)
  2. Malkauns
  3. Bhoopal Todi

Play thaat or scale Asavari songs according to above given diagram.

  1. Aap ki nazron ne samjha -Taal Muglai, Film: Unpard
  2. Ae dil tujhe qasam hai himat na haarna – Film: Dulari
  3. Ae mere dil kahin aur chal – Film: Daag (1952)
  4. Apni jaan nazar karon, Qumi Nagma Pakistani
  5. Bhari duniya men akhir dil ko – Film: Do Badan
  6. Is bhari dunya mai koi bi Film Bharosa, Taal Dadra
  7. Dil ka khilona haye toot gia Film Goonjh uthi shehnai, Taal Kaherva

Raga/Ragni Bhairavi


Raga Bhairavi is also called Ragni Bhairavi. Raga Bhairavi is a late morning raga and belongs to a Thaat named after itself. Bhairavi is a name with a long history. We are told that Parvati becomes Bhairavi when Shiva becomes Bhairav. This raga is often sung at the ending of concerts. The performance of this raga is extremely relaxed and musicians do take liberty with the form of the raga occasionally. It is the raga of desire, belief and excitement. It can also be played at any time of the day. It is a sada bahar raga. It is of utrang raga. It seems beautiful when played on upper notes. In Ragni Bhairavi picture first wife of Raga Bhairav is seen worshiping in a Siva shrine.

The Lingam, a phallic symbol-representing God in Indian religion, is traditionally decorated with flowers. Cymbals (percussion instrument) in the lady’s hand give the worshiping chant a rhythmic accent. Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, and Nishad. When singing compositions in Bhairavi, the singers however take liberty to use all the 12 swars. Bhairavi is a powerful ragni filled with devotion and compassion. Bhairavi is actually performed early in the morning in a peaceful, serious and occasionally sad mood. Traditionally it is rendered as the last item of a program, for its unique fullness of sentiments as well as its wide scope of the tonal combinations. Pictorially, Bhairavi is represented in female form, as the wife of Bhairav. Most of the Bhairavi songs begin from madh saptak to taar saptak. 

Note that thaat bhairavi and ragni behravi sargam is same. This is the reason that some songs of raga can also be played with thaat of that raga. Keep diagrams of Bhairavi and thaat Bhairavi in front while playing its songs. Though shuddh Re, Ga, Dha, Ni and tiver Ma are all vivadis in Bhairavi and each one can be taken in a certain way to embellish or decorate the ragni.

Shankar-Jaikishen composed many classical songs with Bhairavi . In Barsaat, most of them were based on Bhairavi . In fact, Bhairavi is the most favorite ragni of Shankar-Jaikishen. No wonder years later, Jaikishen named his daughter Bhairavi . However, Bhairavi i Jaikishen did not follow in her father’s footsteps; she pursued her mother’s profession instead. Since Bhairavi did not have affinity towards music she, like her mother became a fashion designer. Shankar was born in Punjab but brought up in Hyderabad, while Jaikishen was born in Gujarat. Shankar was an excellent tabla player and Jaikishen was a superb piano and accordion player. So this was a superb combination. Shankar had extensive training in Hindustani classical music, whereas Jaikishen had very little training in classical music. Later in many of the films, SJ composed many popular songs in raga Bhairavi . The song Pyar huwa ikraar huwa is also based on raga Bhairavi . Two of the greatest hits of SJ, Awara hoon (Film: Awara) and Mera joota hai jaapani are also based on the evergreen Bhairavi . These two songs were extremely popular in Russia and in Middle Eastern countries. The song awara hoon is still popular all over Russia, even fifty years later – a unique feat no other music director has achieved!  Raj Kapoor spotted two jewels, Shankar and Jaikishen and they went on to become the music directors for all RK films.

 The song Pyar huwa is based on Bhairavi that has komal swars except the musical note Ma that is a shuddh sur. The lower case letters indicate komal swars. There is only one note for Sa and Pa, since these two notes are called achal swar that have no saathi  (stationary notes). It is to be noted that although this song has been based on bhairavi, they are not based on pure Bhairavi notes – while composing SJ skillfully used shuddh Re and tiver Ma and occasionally used shuddh Dha in slight violation of Bhairavi notes. This is the real talent of the music director. Any talented musician, who has knowledge of classical music, can easily compose a song based on pure notes of a given raga following the raga rules. But the real genius comes into play when someone like SJ, defies the rule of the raga a little bit, by putting a different note other than defined in the arohi and amrohi. This act of defiance in such a skillful manner, adds spice to the song’s composition making it very melodic and popular. Please note that while doing the following analysis, it is figured that the original song begins with two black keys of the madh saptk. One can easily see that shuddh Re has been used in many places instead of komal re which is in violation of Bhairavi . But this very violation made the song very melodic. This is the reason why some notes that are not included in the raga bring beauty in songs. Where as all the notes of certain raga do not completely fit in certain film songs. Also in the antra, SJ used tiver Ma instead of shuddh Ma that is again in violation of Bhairavi raga. But this violation again added to the beauty of the song.

Raga Bhairavi Notes

Aarohi: S r g m P d n S’
Amrohi: S’ n d P m g r S

Raga Bhairavi Bandish MP3

Raga Bhairavi Properties

Thaat: Bhairavi
Jaati: Sampooran-Sampooran
Vaadi: m
Samvaadi: S
Some gharanas believe that bhairavi vaadi sur is Sa and samvadi sur is P,
Time: 6 am-9 am
Saptak Pradhaanata: Madh-Taar
Pakad: ‘n S g m P d P, g P m g r S

Lyrics Raga Bhairavi Bandish

Chalo Hatho Giridhari
Kahey Mari Pichkari
Rang Mein Bhijo Dayi
Chunaree Mori Saari

Antara :
Kuvar Shyam Mori Maanat Naahi
Baar Baar Samjhaye Mai Hari
Kaa Ri Karoon Kachhoo Bana Nahi Aavey
Chhalabaliyan Kar

Come on, mischievous Krishna, keep away from me! Why do you wet my clothes with the colour-sprinkler! I have been pleading with you, yet you continue to tease me ceaselessly!

Raga Bhairavi Lakshan Geet:

Alaap Raga Bhairavi:
S-, g– s r S, ‘P ‘nS R g, R g m g, R g-, S r S
‘P ‘n ‘d, ‘d ‘n S r, r g m, r g S
S g P—, g P—, d- m P, m P n d, m P g, g m M m g r g S r S
g P d S’ , n S’ r’ S’ d P g, g P d n d m g, n D- m R, m d P, g- R g m g S r S

Lyrics Lakshan Geet Raga Bhairavi

Bhairaven kahay man mani komal sab sur ker goni gawat paratham prahar ki rani
Madhim wadi sur samwadi
Bhagti raas ki khani
Sab koi gawat
Sab ko rejhawat
Bheraven shaster pramaney

Raga Bhairavi Bandish:

kaisi re bhalai re kanhai
Paneya bharan mori
Gagri gerai, karat larai
Ka karon mai nahi nahi
Manat kanhai
Karat larai
Sanad kahay moosay
Dheet bhayo kanahi
Ka karon mai nahi
Manat kanahai
Karat larai

Songs of  Raga Bhairavi

  1. Aaya hai mujhe phir yad Film Devar, Tall Kaherva
  2. Ab tumhare hawale watan Film Haqeeqat (1964)
  3. Awara hun Film Awara (1951)
  4. Barsaat mein humse mile Film Barsaat, Taal Dadra
  5. Bhor bhaye Panghatr Pe Film Satyam shivam sundram, Taal Kaherva
  6. Bol radha bol sangam ho ga Film Sangam, Taal Kaherva
  7. Chaliya mera naam Film Chaliya, Taal Kaherva
  8. Chhod gaye balam mujhe Film Barsaat, Taal Kaherva
  9. Chingari koi bhadke Film Amar prem, Taal Kaherva
  10. Dil apna aur preet Film Dil apna aur preet parai, Taal Dadra
  11. Do hanson ka joda Film ganga jamna, Taal Hinch
  12. Dost dost na raha Film Sangam, Taal Dadra
  13. Ghar aya mera pardesi Film Awara, Taal Kaherva
  14. Hamen tumse pyar kitna Film Kudrat, Taal Kaherva
  15. Insaf ka mandir hai Film Amar, Taal Dadra
  16. Ja re ja re ud ja re panchi Film Maya, Taal Kaherva
  17. Jab dil hi toot gaya Film  Shah jahan, Taal Kaherva
  18. Jaise radha ne Film Tere mere sapne, Taal Hinch
  19. Jeena yahan marna yahan Film Mera naam joker, Taal Dadra
  20. Jeet hi  len ge bazi hum tum Film Shola aur shabnam, Taal Dadra
  21. Jis dil main basa tha pyar, Film Saheli, Taal Kaherva
  22. Jis desh mein ganaga behti hai Film Saheli
  23. Jiya jaale jaan jale Film Dil se
  24. Jot se jot jagate chalo Film Sant Gyaneshwar, Taal Kaherva
  25. Kaise samjhaoon bade na samajh ho Film Suraj, Taal Kaherva
  26. Kar chale hum fida Film Haqeeqat
  27. Kehta hai joker Film Mera naam joker, Taal Kaherva
  28. Kisi nazar ko tera intizarr Film Aitbaar, Taal Kaherva
  29. Kisi ne apna bana ke mujh ko Film Patita, Taal Kaherva
  30. Laage chunari ein daag Film Dil hi tu hai, Taal Kaherva
  31. Mera joota hai japani Film Shree 420, Taal Kaherva
  32. Mera  naam raju Film Jis desh main ganga behti hai, Taal Kaherva
  33. Mere desh ki dharti Film Upkaar, Taal Kaherva
  34. Mitwa re mitwa purab Film Jawab, taal Dadra
  35. Mujhko iss raat ki tanhayee main Film Dil bhi tera hum bhi tere, Taal Dadra
  36. Naach man mora magan Film Meri surat teri aankhain,  Taal Kaherva
  37. o shama mujhe phunk de Film Aashiq, Taal Kaherva
  38. Pyar hua ikrar hu hai Film Shri 420, Taal Kaherva
  39. Raja ki aye gi baraat Film Aah, Taal Kaherva
  40. Ramaiya vasta vaiya Film Shree 420, Taal Dadra & Hinch
  41. Sab kuch seekha ham ne Film Anari, Taal Kaherva
  42. Sakiya aaj mujhe need nai Film Sahib bibi aur ghulam, Taal Kaherva
  43. Sun ri pavan, pavan puravaiya, Film Anuraag, Taal Hinch
  44. Suno choti si gudiya ki Film Seema, Taal Dadra
  45. Tere jana dil ke armano ka Film Anari, Taal Kaherva
  46. Teri raahon mein khade hain Film Chhalia
  47. Tu gana ki mauj Film Beju bawara, Taal Dadra
  48. Tu hindu bane ga na Film Bhool ka phool, Taal Dadra
  49. Tumhen aur kia don mai Film Ayee Milan ki bela, Taal Dadra
  50. Toote na dil toote na Film Andaz, Taal Kaherva
  51. Waqat se din aur raat Film Waqat, Taal Kaherva
  52. Yahi hai who saanjh aur savera Film Sanjh aur savera, Taal Dadra
  53. Ye zindagi ke mele Film Mela, Taal Dadra