• Raag Devata Bhairav •


A double-Ga Bhairav derivative, introduced by Agra gharana pioneer Azmat Hussain Khan ‘Dilrang’. As per Parrikar, the raga is distinguished from its parent with “the introduction of [an] avroh pragoya via the komal ga [mgrS]”. Some artists include subtle touches of komal ni, including Jitendra Abhisheki – who sings a madhyang-focused bandish (to me, somewhat reminiscent of Omkar Dadarkar’s Jogkauns rendition in its dPm(G)m phrase and twin-Ga interminglings). Abhirang, one of only a few others to have recorded it, offers pakad including gmPd, NS, mPGm & PGm, Pmg, rrS – with his analysis supplemented by Dilrang’s son Vajahat Hussain Khan, who explains that his father invented the raga “spontaneously…before the beginning of a 1944 concert at Kolhapur’s Deval Club…with Alladiya Khan, Faiyaz Khan, Vilayat Khan, and many other seasoned musicians of Maharashtra in the audience”, adding (in contrast to Parrikar) that “there is no glimpse [of] Bhairavi…the komal ga and SRGmP [phrase] have to be handled very carefully…[to] exclude Bhairavi and Shivmat Bhairav”.

Raga Megalist (365+) •
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—Jitendra Abhisheki (1985)—

[bandish, e.g. 2:13] P(mP)m, m(G), SmG(mG) Pm(Pm)g\r S, SNrS/mg, r(S), SrGm, (S)Pd, NS, S(NrS), S(NrS) ndP, P(nd), Pm, (G)m, m(GPm)m\g, r, S…


• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.


• Prakriti: (none found)


–Swara Geometries–

Core form: SrgGmPdNS
Reverse: SrGmPdDNS (=Saurashtra Bhairav)
Negative: 4-4-3-1
Imperfect: 3 (ga, Pa, Ni)
Detached: none
Symmetries: none
Murchanas: none


–Global Translations–

Carnatic: (~Gundakriya)
Jazz: Double Harmonic (dbl. 3rd)
Pitch classes (‘fret-jumps’):

o o • o o o • o o • • o o


• Tanpura: Sa–Pa
• Names: Devata Bhairav, Devta Bhairav, Dutiya Bhairav


—Abhijith Shenoy ‘Abhirang’ (2021)—




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Hindustani Raga Index

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

Megalist (365+ ragas)
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Tags: Classifying the ragascape •
Glossary: Raga jargon demystified
Murchanas: Swara-set rotations •
Thaat: Bhatkhande’s base scales •
Ragatable: Analytical connections •
Tanpuras: Divine overtonal drones •
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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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