Another very popular and compound variant of Bhairav, this weaves in some anga or features of raga Nat along with Bhairav in its tapestry.
Thhaat (parent scale)
Bhairav
Jaati:
Sampoorn (heptatonic)
Vaadi:
Pancham (P)
Samvaadi:
Shadja (S)
Swaras:
Komal Dhaivat; rest shuddh swaras
Aaroh (ascent):
S R G M P d N S’ (Western Notes: C D E F G G# B C)
Avaroh (descent)
S’ N d P M G R S (Western Notes: C B G# G F E D C)
Key phrases:
S, d.RS, RGMPdP, GMRS,RG,GM,MP – NdP, GMRS
Time:
Late morning
Sarasangi in Carnatic music has the same scale as Nat Bhairav but the treatment in both the streams of Indian music is vastly different. Many believe that Pandit Ravi Shankar adopted Sarasangi as Nat Bhairav in Hindustani stream but its popularity among his senior contemporaries proves that this raga was in practice even before Panditji who, undoubtedly, popularized it. Except for the pathos-ridden komal dhaivat, all other shuddh notes exude power. As such this, like Ahir Bhairav, seems to emulate the character of Ardha-naareeshwara.
Bibliography
1. Abhinav Geetanjali by Pandit Ram Ashreya Jha
2. Rajan Parrikar Music Archive (Bhairav the Primordial Sound)
Links
1. Pandit Ravi Shankar and Ustad Ali Akbar Khan (sitar-sarod)
2. Ustad Amir Khan (vocal)
3. Ustad Rashid Khan (vocal)
4. Pandit Bhajan Sopori (santoor)
Abhishek Borkar performs Raag Nat Bhairav in 2019, recorded on location in West India.
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