S-r-gG-m-P-d-nN-S

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Shivmat Bhairav blends elements from a trio of heavyweight ragas – Bhairav, Bhairavi, and Todi – with the Bhairav-ang being the most dominant over the sound (the swara-set equates to ‘Bhairav double Ga/Ni’). Relatively rare in modern times, the raga brings out Bhairav via Gm(G)rS and oscillations on the komal re – while also incorporating komal ga and ni in characteristic vakra movements (e.g. Bhairavi‘s PdndP and Todi‘s rgrS), alongside other idiosyncrasies such as the long P\G glide evident in Manjusha Patil’s lakeside solo rendition (alap transcribed below), and the even longer P(mG)\r motion on the sam of Mallikarjun Mansur’s take. Maihar sitar and surbahar master Indrajit Banerjee generously got in touch in Oct 2023 to offer further insights on Shivmat Bhairav’s melodic blend: “Todi and Bhairav are not too difficult to bring in, but the Bhairavi part is discretionary – the beauty of the raga, as I see it, lies in the use of komal ni, applying the principle of avirbhav-tirobhav“. Said to have inspired Kumar Gandharva’s near-congruent Bihad Bhairav – also compare to other members of the Bhairav and Todi ragangas.

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• Raga Masterlist (1000+) •

राग शिवमत भैरव

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• Hindustani Raga Index •

Aroha: e.g. SrGmP; GmPdNS

Avroh: e.g. SNdP, PdndP; PmG; GmG\rS, rgrS

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Pakad: e.g. NSN\dP PdndP; GmG\rS rgrS

Chalan: Mostly follows Bhairav (SNS; SGmP; GmdP; NSN\dP; GmG\rS), plus motifs from Todi (rgrS) and Bhairavi (PdndP) – sample path e.g. SNS; Sr; SG\r; G\rS; rgrS; SNS; SG; SGmG; Gm; GmP; PmP; P\G, G\rS; rgrS; SGmP; GmdP; GmPdN\dP; Pdn; ndP; PmP; PdndPm; PmP\G; GmG\rS; rgrS; NSN\dNS; G\rS [implied by Manjusha recording below: also refer to Moumita Mitra’s demo]

• Compositions •

—Mallikarjun Mansur (Jaipur-Atrauli khayal):

• [ektal] SrGm, P(m)G\r, mG\r, G(mGP)mG\r, G\rS, (S)r, rG(mG), m, Pm, PmG, GmG\r, rg rS, SrGm P(m)G\rS

—Manjusha Patil (Gwalior khayal):

• [alap] S, S, SNS, NSN\d, N\d, (N)d, NdNS | S, S(N), S, Sr, r\Sr, SG\r, G\r, rgrS | S, rS(N)SN\d, (N)d, (N)dNS | S(N)S, SG, G, G(mG), N\dP, N\dN, N\dS, S | S, SG, G(mG), (G)m, mG, (m)G, S(mG)mG, S(mGm)PmG, GmG\r, G\r, rgrS, SN\d, N\dS | dNS, SG, G(mG)m, m(G), (P)m, PmP, P, P, SGmG, P\G, P(G)P, SGmGP, P P\G, (m)Gm, GmG, P(Gm)G, S(mG)m, G(m)Nd, N\dP, PP, PdndPm, PmP\G, SG(mG), G(m)PmG, GmG\r, G\r, rgrS, SN\dNS, G\rS…

—Manjusha Patil (2019)—

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[alap development, e.g. 8:08] P, Pdn ndP m(m)P, (G)mm, G\r, r/g(r) rSS; ndP m(G)mP, (G)mm, G\r, r/g(r) rSS; (N)SGm PdPS(NS) NSN\dP Pdn ndPm(GP); (G)mm, G/r, r/g(r) rSS…

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• Classifiers •

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

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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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

Also compare to other members of the Bhairav and Todi ragangas

–Swara Geometries–

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• Core form: S–r–gG–m–P–d–nN–S

• Reverse: SrRGmPdDNS

• Complement: SRMDS

• Imperfect: 2 (Pa, Ni)

• Detached: none

• Symmetries: none

• Murchanas: none

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• Quirks: ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

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–Global Translations–

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• Carnatic: (~Mayamalavagowla)

S-R₁-G₂-G₃-M₁-P-D₁-N₂-N₃-S

• Jazz: Phrygian (dbl. 3rd/7th)

1-b2-b3-3-4-5-b6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-1-3-4-5-7-8-10-11-0

(1–2–1–1–2–1–2–1–1)

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o o • o o o • o o • o o o

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• Tanpura: Sa–Pa

• Names: Shivmat Bhairav, Shivmath Bhairav, Shiv Bhairav, Shiva Bhairav

• Transliterations: Hindi (शिवमत भैरव)

—Mallikarjun Mansur (~1980s)—