Bhairavi (pronounced /bʱaːriːviː/) is a janya (derived) rāga in the Carnatic music tradition of South India. It is classified as a Bhashanga rāga, meaning it incorporates notes (swaras) that are not found in its parent melakarta scale. Bhairavi is derived from the 20th melakarta rāga Natabhairavi, although its scale makes use of both the shuddha (natural) and kaishiki (minor) nishāda (Ni) notes, giving it a distinctive melodic character.
Scale (Ārohaṇa and Avarōhaṇa)
The ārohaṇa (ascending) and avarōhaṇa (descending) structures of Bhairavi are:
- Ārohaṇa: S R₂ G₂ M₁ P D₁ N₂ S
- Avarōhaṇa: S N₂ D₁ P M₁ G₂ R₂ S
where the swaras are:
- S – Shadjam (tonic)
- R₂ – Chatusruti Rishabham (major second)
- G₂ – Sadharana Gandharam (minor third)
- M₁ – Shuddha Madhyamam (perfect fourth)
- P – Panchamam (perfect fifth)
- D₁ – Shuddha Dhaivatam (minor sixth)
- N₂ – Kaishiki Nishadam (minor seventh)
In practice, performers often employ gamaka (ornamentation) and may use antara (upper) Ni (N₃) in certain phrases, contributing to the rāga’s bhav (emotional expression).
Character and Mood
Bhairavi is traditionally associated with karuṇā (pathos) and bhakti (devotion). Its serene yet plaintive quality makes it suitable for a wide range of compositions, from kriti (devotional) to varnam (rhythmic) and pallavi (improvisatory) pieces. The rāga is frequently rendered in the late evening or night portions of a concert, although it is also performed in the opening sections of many Carnatic concerts.
Notable Compositions
Prominent composers who have written kritis in Bhairavi include:
- Tyagaraja: “Viriboni” (though more commonly set in the related raga Vijayasaranga) and other lesser‑known works.
- Muthuswami Dikshitar: “Sri Venkateswaram” (a set of compositions dedicated to Lord Venkateswara).
- Syama Sastri: “Shri Parvathi Nadeen” (a kriti invoking the goddess Parvati).
- Patnam Subramania Iyer: “Karuval Mounakathre” (a popular Mangalam piece).
In addition to these classical compositions, Bhairavi is a common choice for Thillanas, Varnams, and Ragam‑Tanam‑Pallavi segments.
Relationships to Other Rāgas
- Janya of: Natabhairavi (20th melakarta).
- Sambhāsa (related) rāgas: Kharaharapriya, Kambhoji, and Natabhairavi itself share several swaras, but differ in phraseology and gamaka usage.
- Mēlan (parent) rāga: Natabhairavi, which provides the foundational set of swaras, while Bhairavi adds the Bhashanga (foreign) Ni.
Performance Practice
Performers typically observe the following conventions in Bhairavi:
- Gamaka‑rich phrases: Emphasis on elongated and oscillating notes, especially on G₂ and N₂.
- Vakra (zig‑zag) movements: The melodic line often employs non‑linear jumps, such as S‑N₂‑D₁‑P‑M₁‑G₂‑R₂‑S in the descent.
- Use of “Prati‑Ni” (N₃): Though not part of the basic scale, the higher Nishadam may appear briefly in ornamental passages.
- Tempo flexibility: Bhairavi accommodates both Vilambita (slow) and Madhyama (moderate) tempos, allowing elaborate rāga alapana (improvisation) before moving into rhythmic sections.
Cultural Significance
Bhairavi occupies a prominent place in the Carnatic repertoire, frequently chosen for its emotive depth and versatility. Its melodic framework supports both devotional and secular themes, making it a staple in concert programming, music education, and recordings. The rāga also appears in film music and fusion projects, where its distinct mood is leveraged for cross‑genre collaborations.
References:
- S. Ramanathan, The Rāgas of Carnatic Music (Madras: Music Academy, 1973).
- T. Viswanathan & M. Allen, Music in South India: The Karnātic Tradition and Beyond (Oxford University Press, 2010).
- K. Raghavan, “Bhairavi: A Bhashanga Rāga,” Journal of South Indian Musicology, vol. 24, no. 2, 2015, pp. 87‑102.
