• Raag Nat Bihag •


A Bihag offshoot developed by the Agra gharana, distinguished by the integration of special phrases such as mnDP; PDNS; PDNDP alongside other flourishes from Shuddha Nat (e.g. SR, RG, Gm, mP). Tivra Ma is either avoided or limited to occasional ornamental status (M/P), with komal ni similarly restricted to use as a madhya-saptak kan in runs such as n\DP. Refer to Rajan Parrikar’s listening recommendations, including Asad Ali Khan’s classic Agra rendition, Ramkrishnabuwa Vaze’s Gwalior rework, Biswajit Roy Chowdhury’s sarod interpretation, and Faiyyaz Hussain Khan’s nomtom alap (Khan’s various takes would later inspire “a famous cheez assigned to Lata Mangeshkar by composer S.D. Burman from the 1951 movie Buzdil” – Jhan Jhan Jhan Jhan Payala Baje – later picked up by others such as Mallikarjun Mansur). Also see other Bihag compounds including Hem Bihag, Chandni Bihag, and Manjari Bihag.

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Aroha: SGmPNS
Avroh: SNDP, mnD, PmGRS

Chalan: signatures e.g. SGmP; GmPN; PNSG; SN(D)P; PmG; RS; mnDP; SR; RG; Gm; mP (Parrikar)


—Waseem Ahmed Khan (2021)—

[refrain, e.g. 3:02] G(mG) m/n(D) D(nP)P, P(mPmP), (DPDPmPmPDP)m m(Gm)G, (GR)G GR(GR)m, S(GmGmG)P (P)mG, GmR (N)S, (NSR)N S, G(Pm) m/n(D) D(nP) P


• 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 | 32Enclosed | 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: Chandni Kedar, Saraswati Kedar, Manj Khamaj, Pancham se Gara, Shuddha Chaya, Medhavi


–Swara Geometries–

Core form: SRGmMPDnNS
Reverse: SrRgmMPdnS
Negative: 5-2-5
Imperfect: 1 (Ma)
Detached: none
Symmetries: mirror (R—d)
Murchanas: Jaijaiwanti set

Quirks: maximal‘ (swaras are optimally ‘spread out’)


–Global Translations–

Carnatic: ~Hamir Kalyani
Jazz: Lydian-Mixolydian
Pitch classes (‘fret-jumps’):

o • o • o o o o • o o o o


• Tanpura: Sa–Pa
• Names: Nat Bihag, Nut Behag


—Amjad Ali Khan (2006)—




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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! [out 2023-24]

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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!

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