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. 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 Megalist (365+) •
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• 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…
• 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
Double: rR | gG | mM | dD | nN
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Murchana: Bhup. | Bihag | Bilaw. | Charu.
Raganga: Bhairav | Malhar | Kan. | Todi
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
• Prakriti: Bilawal thaat, Bilawal, Tilak Kamod, Nat, Hem Bihag, Bihari, Savani, Swanandi, Gagan Vihang, Maluha, Mand, Chaya Malhar, Hemant
–Swara Geometries–
• Core form: S–R–G–m–P–D–N–S
• Reverse: SrgmPdnS (=Bhairavi)
• Negative: 3-2-3-2-2 (e.g. Malkauns)
• Imperfect: 1 (Ni)
• Detached: none
• Symmetries: mirror (R—d)
• Murchanas: Bilawal set
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Sankarabharanam
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
—Aslam Khan (~1980s)—