Ahir Bhairav

For the Assamese language film, seeAhir Bhairav (film).

Ahir Bhairav

Thaat	Bhairav
Time of day	Firstprahara
Arohana	SṞGMPDṈṠ
Avarohana	ṠṈDPMGṞS
Vadi	dha
Samavadi	Re

Ahir Bhairavis aHindustani classicalraga.It is a mixture ofBhairavand the ancient, rareragaAhirior Abhiri,or perhaps a mixture of Bhairav andKafi.

Important traditional Compositions

Some of the most important traditional compositions in Raag Ahir Bhairav are:

1. Man Rangeele (Teental 32BPM Vilambit)
2. Shankara Mhaarare (180BPM Drut); popularised byNagaraja Rao Havaldar
3. Mohe Chedo Na Giridhaari (170 BPM Drut); popularised byParveen Sultana

Theory

Arohana and avarohana

Arohana:SṞGMPDṈṠ

Avarohana:ṠṈDPMGṞS

Key:

S, G, M, P, D:shuddha(natural);

r, n:komal(flat);

PaandSaare sometimes avoided in ascending Arohan. The descent can be direct, but is often expressed as S' N d P m, G m^Gr ~ S with a slight oscillation onkomal reto express the character of Bhairav.

Vadi and samavadi

Vadi:M

Samavadi:S

Pakad or Chalan

S, r G M, G M r, ṇ Ḍ, ṇ r S

|komal Ni, shuddha Dha, komal Ni, komal Re, Sa| is the most characteristic run, where theNiandDhabelong to the lower octave and theReandSaare from the middle octave. Someandolan/oscillation is typically at the flattened second (komal re).

Organization and relationships

It may include impressions of Kafi. The image of Ahir Bhairav is easily maintained with the characteristic passage ṇ Ḍ ṇ/r~ Swith the characteristic Bhairavandolan(oscillation) onkomal re.Sometimesshuddha niis used in the loweroctaveto emphasize the Bhairav character.

TheCarnatic musicequivalent to this raga isChakravakam.

Related ragas:

• Bhairav
• Nat Bhairav

Thaat:Bhairav

Behaviour

Ahir Bhairav is a typicaluttarangraga, which means emphasis is on the uppertetrachord.

Performance

It is usually sung as the firstPrahrof the morning, around 6:00 am – 9:00 am.

Important recordings

Ravi Shankar,Three Classical Ragas.HMV LP, 1957. and Angel Records CD, 2000.

Hariprasad Chaurasia,Raga Ahir BhairavandMarriage Song from Uttar Pradesh.Nimbus Records CD, 1987.

Nikhil Banerjee,Raga Ahir Bhairav.Multitone Records, UK Limited, 1995. LP. (Available on iTunes.)

Wasif-ud-din Dagar,Chalo sakhi braj raje.Alapand Composition inDhamar.Music Today. A97015. Cassette.

Film songs

• "Man Anand Anand Chayo" (film:Vijeta)
• "Meri Veena Tum Bin Roye"
• "Ullathil Nalla Ullam" from "Karnan"
• "Puuchho Naa Kaise Maine Rain Bitaaii"Shiv Dayal Batishand Manna Dey. Composer S.D. Burman
• "Waqt Karataa Jo Wafaa Aap Hamaare Hote"
• "Ram Teri Ganga Maili Ho Gayee (Title Track)" (film:Ram Teri Ganga Maili)
• "Ab Tere Bin Jee Le.nge Ham" (film:Aashiqui)
• "Solah Baras Kii Baalii Umr Ko Salaam"
• "Albelaa Sajan Aayo Re" (film:Hum Dil De Chuke Sanam,Bajirao Mastani)
• "Aur Ho" (film:Rockstar)

In Tamil

Song	Movie	Composer	Singer
Ullathil Nalla Ullam	Karnan	Viswanathan–Ramamoorthy	Sirkazhi Govindarajan
Vanithamani	Vikram	Ilaiyaraaja	S. P. Balasubrahmanyam,S. Janaki,Kamal Haasan
Vaanile Thenila	Kaakki Sattai	Ilaiyaraaja	S. P. Balasubrahmanyam,S. Janaki
Chalakku Chalakku	Chembaruthi	Ilaiyaraaja	Mano,S. Janaki
Nee Pathi Naan Pathi	Keladi Kanmani	Ilaiyaraaja	K. J. Yesudas,Uma Ramanan
Poonkatrae	Friends	Ilaiyaraaja	Hariharan
Vidu Kathaiya	Muthu	A. R. Rahman	Hariharan
Eechambazham	Pavithra	A. R. Rahman	Shahul Hameed,K.S. Chitra
Vaa Vaa En Veenaiyae	Sattam	Gangai Amaran	S. P. Balasubrahmanyam,Vani Jairam
Megangal Ennai Thottu	Amarkalam	Bharadwaj	S. P. Balasubrahmanyam

Carnatic music

Chakravakam,the 16thMelakartaraga of Carnatic music, which is asampurnascale (all seven notes in ascending and descending scale), closely resemblesAhir Bhairav.However, in the modern times Ahir Bhairav raga has been used in a fewCarnatic musiccompositions and many South Indian film songs as well.

Sources

(most) entries due to:

• Bagchee, Sandeep (1999),NĀD Understanding Raga Music,Mumbai: Eshwar,ISBN81-86982-08-6
• Bhatkhande, Vishnu Nayaran (1968–73),Hindusthānī Sangīta Paddhaati: Kramika Pustaka Mālikā (6 vols.),vol. 5, Hathras: Sangeet Karyalaya, pp. 346–351
• Bhatkhande, Vishnu Nayaran (1968–75),Hindusthānī Sangīta Paddhaati: Sangīta Śāstra (4 vols),vol. 2, Hathras: Sangeet Karyalaya, pp. 359–376
• Bhatt, Balvantray; Bhaṭṭa, Balavantarāya Gulābarāya (1964–1982),Bhāvaranga Lahāri,vol. 2, Varanasi: Vitaraka Motīlāla Banārasīdāsa, pp. 53–61,OCLC12918179
• Gandharva, Kumar (1965),Anūpa rāga vilāsa,Bombay: Mauj Prakashan, pp. 4–5
• Jha, Ramashraya (1968–78),Ābhinava Gītānjali (2 vols),vol. 1, Allahabad: Sangeet Sadan Prakashan, pp. 299–319
• Kaufmann, Walter (1984),The ragas of North India,Calcutta, New Dheli, Bombay: Da Capo Press,ISBN0-306-76169-6,OCLC8220451
• Khan, Raja Nawab Ali; Khāṃ, Navāba Alī (1952),Māriphunnagamāta,vol. 1, Hathras: Saṃgīta Kāryālaya, pp. 216–217,OCLC69396515
• Khan, Raja Nawab Ali; Khāṃ, Navāba Alī (1952),Māriphunnagamāta,vol. 2, Hathras: Saṃgīta Kāryālaya, pp. 95–97,OCLC69396515
• Moutal, Patrick (1991),Hindustāni Rāgas Index,New Dheli: Munshiram Manoharlal Publishers Pvt Ltd,ISBN81-215-0525-7
• Patki, J.D (1971–75),Aprakāśita Rāga,vol. 3, Hathras: Saṅgīta Kāryālaya, pp. 85–90,OCLC313609634
• Patwaradan, Narayan Rao (1972),Tarala Prabandhāvalī,Rajasthan: Vanasthali Vidyapith, p. 4
• Patwaradan, Vinayak Rao; Paṭavardhana, Vināyaka Nārāyaṇa (1962–1971),Raga Vijñāna (7 vols),vol. 5, Poona: Madhusūdana Vināyaka Paṭavardhana, pp. 193–198,OCLC69221634
• Phulambrikar, Krishnarao,Rāga Sangraha (7 vols),vol. 6, Poona, pp. 1–4
• Ratanjankar, S.N. (1962),Abhinava Gīta Manjarī,vol. 2a, Bombay: Pŏpyulara Prakāśana, pp. 144–148,OCLC63027697
• Srivastava, Jaisuklai (1969),Malhāra Ke Prakāra,vol. 4, Bombay: Jaisuklal Shah, pp. 19–22
• Vaze, Ramkrishna Narahar (1938),Sangīta Kala Prakāśa,vol. 1, Poona: Ramkrishna Sangeet Vidyalaya, pp. 79–80,OCLC47893854
• Rao, Suvarnalata; Wim, van der Meer; Jane, Harvey (1999), Bor, Joep (ed.),The Raga Guide: A Survey of 74 Hindustani Ragas,London: Zenith Media, archived fromthe originalon 2003-12-03

External links

• SRA on Samay and Ragas
• SRA on Ragas and Thaats
• Film Songs in Ahir Bhairav
• More details about raag AhirBhairav