Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, or perhaps a mixture of Bhairav and Bageshree.
Key:
S, G, M, P, D: shuddha (natural);
r, n : komal (flat);
Pa and Sa are sometimes avoided in ascending Arohan. The descent can be direct, but is often expressed as S' N d P m, G m <sup>G</sup>r ~ S with a slight oscillation on komal re to express the character of Bhairav.
Vadi:
S, r G M, G M r, á¹ á¸Â, á¹ r S
| komal Ni, shuddha Dha, komal Ni, komal Re, Sa | is the most characteristic run, where the Ni and Dha belong to the lower octave and the Re and Sa are from the middle octave. Some andolan/oscillation is typically at the flattened second (komal re).
It may include impressions of Kafi. The image of Ahir Bhairav is easily maintained with the characteristic passage ṠḠá¹Â/r~ S with the characteristic Bhairav andolan (oscillation) on komal re. Sometimes shuddha ni is used in the lower octave to emphasize the Bhairav character.
The Carnatic music equivalent to this raga is Chakravakam.
Related ragas:
Ahir Bhairav is a typical uttarang raga, which means emphasis is on the upper tetrachord.
It is usually sung as the first Prahr of the morning, around 6:00 am â 9:00 am.
Ravi Shankar, Three Classical Ragas. His Master's Voice LP, 1957. and Angel Records CD, 2000.
Hariprasad Chaurasia, Raga Ahir Bhairav and Marriage 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. Alap and Composition in Dhamar. Music Today. A97015. Cassette.
Traditional compositions in Raag Ahir Bhairav are:
Chakravakam, the 16th Melakarta raga of Carnatic music, which is a sampurna scale (all seven notes in ascending and descending scale), closely resembles Ahir Bhairav. However, in the modern times Ahir Bhairav raga has been used in a few Carnatic music compositions and many South Indian film songs as well.
(most) entries due to: