Manjari Bihag | SRGmPDNS | Hindustani Raga Index

S-R-G-m-P-D-N-S

Produced via a chalan bheda of Bihag, Manjari Bihag also lies close to Pat Bihag, typically differing from both these forms via the exclusion of tivra Ma (compare to other members of the Bihag raganga). Most prominently recorded by Aslam Khan ‘Khusrang’: his 1989 album rendition (bandish: Sohat Kanha & Sughara Banara More Ghar Aaye) gives centre stage to a strong Ni and stable Sa–Pa sangati, with other takes abounding throughout his career. Learn more about Khan’s gharana-blending innovations (“He belongs to the Hapur [tradition] of Shaadi & Murad Khan, and represents the Khurja, Atrauli-Jaipur, Agra, and Delhi gharanas. He has authentically articulated the norms of Manjari Bihag in his sonorous voice…”).

• Raga Masterlist (1000+) •

राग मंजरी बिहाग

Search | Glossary | Tags

• Hindustani Raga Index •

—Aslam Khan (1989)—

[refrain, e.g. 26:36] PNS G\R\S, N(S)N(D)N(S) NDP, PNS G\R\S…

Support open-access, AI-free raga musicology by joining my new PATREON. And to learn raga & filmi tunes on guitar, get started with some online lessons! Currently accepting Zoom students

• Recent Raga Index Updates (Apr 2026): Up to 365 Megalist pages! Recent adds include Asa, Bayati, Deepavali, Chanchalas Malhar, DoGa Kalyan, Gaud, Japaniya, Kaushiki, Latangi, Loom, Maru, Meerabai Malhar, Palas, Sarangkauns, Shankh Dhwani, Shivanjali, Sohini Bahar (+ try out ‘Audav Meladalan‘) • What does ‘Kauns’ mean? Analysing 60+ Kauns ragas • ‘Bifurcations‘: ‘poorvang vs. uttarang’ splits • Amir Khan’s ‘168 merukhands’ • Introduced the ‘complements‘ concept • Experiments (e.g. overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

ragajunglism

Just some bendy improv over a Dorian vamp: trying

Rapid Kaushiki Chakraborty taans from the most pop

A melodious Senia-Shahjahanpur gat in Raag Hanskin

Turning a famous tintal kayda into a guitar solo –

Currently in a Carnatic violin phase, so thought I

The opening to L. Shankar’s astonishing, flowing v

‘Yarimo’: a fast, frantic Armenian folk song – alt

Raag Abhogi (S-R-g-m-D-S): One of my all-time favo

Follow on Instagram

• 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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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: Bilawal thaat, Bilawal, Bihari, Tilak Kamod, Nat, Hem Bihag, Savani, Swanandi, Gagan Vihang, Maluha, Mand, Chaya Malhar, Hemant, Loom

Also compare to other members of the Bihag raganga

–Swara Geometries–

• Core form: S–R–G–m–P–D–N–S

• Reverse: SrgmPdnS (=Bhairavi)

• Complement: SrgMdnS (=Mangal Gujari)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bilawal set

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

–Global Translations–

• Carnatic: ~Sankarabharanam (mela #29)

S-R₂-G₃-M₁-P-D₂-N₃-S

• Jazz: Major / Ionian

1-2-3-4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-11-0

(2–2–1–2–2–2–1)

o • o • o o • o • o • o o

• Tanpura: Sa–Pa (+Ni)

• Names: Manjiri Bihag, Manjari Behag

• Transliterations: Hindi (मंजरी बिहाग)

—Aslam Khan (~1980s)—

• ‘Guitaragas’ | My Music •

See more raga-guitar on my Instagram

• Learn ragas & filmi on guitar! •

Share these ragas! My site is 100% reliant on organic visitors – send this page to fellow sonic searchers!

—Join my PATREON!—

The Raga Index will always remain open-access & ad-free: however, this approach doesn’t pay the bills! I put as much into these resources as time and finances allow – so, to hasten the project’s expansion, you can:

• Support the Raga Index! •

—Riyaz-focused notations & bandish—

—Resurrecting rare and ancient ragas—

—Further melodic & geometric analysis—

—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—

—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 besides!

–Masterlist (1000+ ragas)–

• Search: Find your new favourite •
• Tags: Classifying the ragascape •
• Glossary: Raga jargon demystified •
• Murchanas: Swara-set rotations •
• Thaat: Bhatkhande’s base scales •
• Bifurcations: Poorvangs/uttarangs •
• Ragatable: Analytical connections •
• Kaunsis: Listing 60+ Kauns ragas •
• Tanpuras: Divine overtonal drones •
• Quotes: Musings from raga artists •
• Talas: Hindustani rhythm cycles •
• Instruments: Singing sculptures •

¡Random Raga!

—Search the Raga Index—

(NEW: search by swaras/varjits)

• Feedback / Contact •

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!

• Projects & articles: full list •

(Get in touch for Zoom lessons!)

my site is ad-free, AI-free, & open-access