Raag 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; |
Raag Description: This is a very sweet melody equally popular with both the beginners as well as 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 Raag Bihag is concerned, in olden days the Thaat was considered as Bilawal, as Madhyam Teevra was not used. No doubt the Raag 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 Raag Bihag in Kalyan Thaat.
In Avroh, Rishabh and Dhaivat are not used as resting notes however they are used in Meend. In this Raag, Nishad is a prominent note and Aalaps or Taans are generally started from this note. This Raag is full of Shringar Ras. This is a Poorvang Pradhan Raag.
Listen to Raag Bihag: Following bandishen are taken from the book "Acharya Tanarang Ki Bandishen Vol I" written by Acharya Vishwanath Rao Ringe 'Tanarang'. All bandishen are sung by Shri Prakash Vishwanath Ringe. The book contains 389 Bandishen from 31 Raags and an Audio CD. For more information on the book, please click here. To buy the book, please contact us.
1 | Bada Khyal: Rajan Ke Raja Taal: Ektal Vilambit Theme: Guru Vandana | |
2 | Bada Khyal - Sadra: Uchat Gai Neendariya Taal: Jhaptal Vilambit Theme: Virah Ras | |
3 | Bada Khyal - Sadra: Ginat Rahi Tare Piya Nahi Aaye Taal: Jhaptal Vilambit Theme: Virah Ras | |
4 | Bada Khyal: Kaiso hai ye Tero Taal: Jhaptal Madhya Lay Theme: Shri Krishna - Gopiyon se Chedchad | |
5 | Chota Khyal: Jamuna Pe Baje Taal: Trital Drut Theme: Shri Krishna - Murlidhar | |
6 | Chota Khyal: Jhanan Jhanan Baje Taal: Trital Drut Theme: Shri Krishna - Balyakaal | |
7 | Chota Khyal: Rang Rang Barse Aaj Taal: Trital Drut Theme: Shringar Ras | |
8 | Chota Khyal: Balamuwa Bisro Ri Taal: Ektal Drut Theme: Virah Ras | |
9 | Sargam: Pa Ga Ma Ga Ni Sa Ma Ga Taal: Trital Drut |
Raag Bihag By Acharya Vishwanath Rao Ringe 'Tanarang' (Recorded in the Year 1993). Accompanying him is son, Shri Prakash Vishwanath Ringe.
Chota Khyal: Jamuna Pe Baje Taal: Trital
Raag Bihag By Shri Prakash Vishwanath Ringe, son and disciple of Acharya Vishwanath Rao Ringe 'Tanarang'.
Chota Khyal: E Mora Re Mora Re, Taal: Trital