As suggested by the name, this is a blend of two ragas – Ahiri (a Desi melody turned raga, belonging to Ahir community (cowherds) of the Ganga-Yamuna belt) and Bhairav.
Thhaat (parent scale)
Bhairav
Jaati:
Sampoorna (7 notes in both ascent and descent)
Vaadi:
Gandhaar (G) or Madhyam (M)
Samvaadi:
Shadja (S)
Swaras:
Komal Rishabh and Komal nishaad; rest shuddh swaras
Aaroh (ascent):
S r G M P D n S’ (Western Notes: C C# E F G A A# C)
Avaroh (descent)
S’ n D P M G r S (Western Notes: C A# A G F E C# C)
Key phrases:
n. S, D. n. r S, S r G M r, S, S r GM, MPDnD, M, G M r S
Time:
Early morning
There are several viewpoints regarding its Vaadi-Samvaadi swaras because, without distorting its features or chalan (gait), the swaras of the raga offer a lot of scope for improvisations. The raga’s poorvang or lower tetra-chord is rooted on Bhairav with due emphasis on its oscillating yet virile Komal Rishabh; while the Komal Nishad in its uttrang (upper tetra-chord) brings in the soft hues of Kafi and Bageshri. Interestingly, this compound raga is much more popular than the grandiose Bhairav and in a way reflects the concept of Ardhanareeshara.
Bibliography
- Kramik Pustak Malika by Pandit V N Bhatkhande
- The Raga-ness of Ragasby Deepak Raja
Ramana Balachandran (Saraswati veena) performing Raag Ahir Bhairav at Darbar Festival 2022, accompanied by Patri Satish Kumar (mridangam)
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