Writing about the musical theory of Hindustani music is fraught with complications. Firstly, there have been no set, formal methods of written notation. Secondly, Hindustani music is an
aural tradition, and therefore writing is not an essential part of learning. However, Nat Bhairav is a morning raga. The raga reflects the mood of slight pathos with heroic exuberance.
Arohana and Avarohana Arohana Sa, Re, Ga, Ma, Pa, , Ni, Sa' C, D, E, F, G, A♭, B, C'
Avarohana Sa', Ni, , Pa, Ma, Ga, Re, Sa C', B, A♭, G, F, E, D, C
Pakad or Chalan -Ni-Sa' Sa-Re-Sa Sa-Re-Ga-Ma--Pa, Ga-Ma-Re-Sa, Re-'Ni-'-Sa While the above is true, modern (20th century) treatment of the Raga is slightly different. The basic Chalan of the Raga has de facto shifted the Vadi-Samvadi (Point-Counterpoint) duo to Re-; and the basic characteristic phrase has become Re--Re, Re-Ga, Ga-Ma, Ma-Pa; Ma-Ni-Pa, Ga-(Ma)-Re-Sa; Sa-'NiSa-'. It is believed that this Chalan brings out clearly the Nat-ang in Nat Bhairav.
Organization and relationships Related ragas: •
Bhairav (raga) •
Ahir Bhairav •
Thaat:
Bhairav ==Behaviour==