Sahitya Sangeet

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Mirza Ghalib

Raga Bihag


Swar Notations
Swaras Rishabh and Dhaivat forbidden (Varjya) in Aaroh, Both Madhyam. Rest all Shuddha Swaras.


Jati

Audhav-Sampurna Vakra


Thaat 

Kalyan


Vadi/Samvadi

Gandhar/Nishad


Time

(9 PM - 12 AM): 2nd Prahar of the Night : Ratri ka Dwitiya Prahar


Vishranti Sthan

S; G; P; N; - S'; N; P; G;


Mukhya-Ang 

N S G ; G m G ; P M P G m G ; P M G m G R S;


Aaroh-Avroh

S G m P N S' - S' N DP M P G m G RS, S' N D P M G m G R S;

 

Raga Description

 This is a very sweet melody equally popular with both the beginners and experts. P M G m G combination is Raag Vaachak. Madhyam Teevra and Madhyam Shuddha are used as follows: M P G m G or M P D M P G m G or P M D P M P G m G.

In Aaroh, Aalaps or Taans are always started with Madhyam Teevra rather then Madhyam Shuddha like: M P ; M P D G m G ; M P N S' N D P ;. But when Aalaps or Taans are started with any other note, Madhyam Shuddha will be used like: ,N S G m P N S'. In Avroh, Teevra Madhyam is used along with Madhyam Shuddha, like: M G m G; P D P M G m G. In Sapaat Taans (Straight Taans), only Shuddha Madhyam is used in Avroh, like: S' N D P m G R S.

As far as the Thaat of Raga Bihag is concerned, in olden days the Thaat was considered as Bilawal, as Madhyam Teevra was not used. No doubt the Raga is full of Bilawal Ang, for example D-G sangati, PmG RS etc. However in recent times the use of Madhyam Teevra is in practice. It is extensively used in different ways like MPGmG, N DP M P G m G, MPDMP GmG, P MGmG mG RS (still keeping Bilawal Ang intact). In view of use of Madhyam Teevra many renowned musician categorized Raga Bihag in Kalyan Thaat.

In Avroh, Rishabh and Dhaivat are not used as resting notes however they are used in Meend. In this Raga, Nishad is a prominent note and Aalaps or Taans are generally started from this note. This Raga is full of Shringar Ras. This is a Poorvang Pradhan Raga.

 

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