Bihag
A night raga with prominent Ga and Ni and characteristic treatment of both madhyams.
Reading the swaras
S R G M P D N are shuddha notes, r g d n are komal notes, and M^ is tivra Ma. ↑ marks the upper octave and ↓ the lower; unmarked notes are in the middle octave. — continues the previous sound, · marks an unsung position, and parentheses indicate grace notes.
Notes and identity
| Field | Value |
|---|---|
| Thaat | Bilawal; Kalyan classification is also used for the both-Ma treatment |
| Swaras used | Both shuddha Ma (M) and tivra Ma (M^) |
| Jati | Audav–Sampurna (Re & Dha weak/omitted in ascent) |
| Vadi | Ga (G) |
| Samvadi | Ni (N) |
| Aroha | N↓ S G M P N S↑ |
| Avaroha | S↑ N D P M^ P G M G R S |
| Time | Night |
Grammar & signature
- Ascent
N↓ S G M P N S↑(Re/Dha skipped); characteristic phrases include theN↓ S G M Pclimb and the two-Ma phraseP M^ G M G. - Tivra Ma can be important in characteristic combinations, not merely an incidental grace. Its use must follow a stated treatment.
Pakad / chalan (illustrative)
These phrases illustrate the treatment described on this page. Phrase shape and emphasis can differ between teachers.
N↓ S G M P,P M^ G M G,M^ P G M G- Retain shuddha Ma in the two-Ma returns rather than reducing them to a tivra-Ma touch. Ga and Ni are prominent.
Phrase examples
- Belongs:
N↓ S G M P N S↑(Re/Dha skipped in ascent),P M^ G M G,M^ P G M G,S↑ N D P M^ P G M G R S. - Avoid / careful: do not distinguish Maru Bihag merely by counting tivra-Ma occurrences; phrase grammar and resting points matter.
- Common learner errors: ignoring the two-Ma phrases; turning the oblique movement into an undifferentiated scale.
Allied ragas & differentiation
- Maru Bihag — requires a separate phrase-level comparison; “more tivra Ma” alone does not define the distinction.
- Nand, Kamod — neighbouring night ragas.
Related music
- Talas: Teental, vilambit Ektal. Form: Khayal.
- Ragas: Kedar (also both-madhyam). Concepts: tivra swar, kan-swar — see Tivra · Kan-swar.