S-R-G-mM-P-D-nN-S
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.
• Raga Megalist (365+) •
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• Hindustani Raga Index •
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 | 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: Chandni Kedar, Saraswati Kedar, Manj Khamaj, Pancham se Gara, Shuddha Chaya, Medhavi
–Swara Geometries–
• Core form: S–R–G–mM–P–D–nN–S
• 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
S-R2-G3-M1-M2-P-D2-N2-N3-S
• Jazz: Lydian-Mixolydian
1-2-3-4-#4-5-6-b7-7-8
• Pitch classes (‘fret-jumps’):
0-2-4-5-6-7-9-10-11-0
(2–2–1–1–1–2–1–1–1)
o • o • o o o o • o o o o
• Tanpura: Sa–Pa
• Names: Nat Bihag, Nut Behag
—Amjad Ali Khan (2006)—