• Raag Pat Bihag •


A chalan bheda of Bihag, which varies according to gharana. Tivra Ma is generally restricted to ornamental use, while Jaipur-Atrauli singers may showcase a range of additional melodic quirks. In Parrikar’s summary, “most of its mannerisms are Bihag-like, the notable departure being its ‘glowing’ shuddha ma: deergha and mukta” – also see his rundown of renditions, including those of Ulhas Kashalkar, Vasantrao Deshpande (singing a Jitendra Abhisheki bandish) and K.G. Ginde (“a superb composition of the great Pandit Vishnu Narayan Bhatkhande. His mudra [colophon] ‘Chatura’ is embedded in the antara…”). Also refer to a 1999 Ashok da Ranade take and a 1984 Kishori Amonkar recording (Dhan Dhan Mangal Gavo: “Pat Bihag is a fusion of many melodies, and there is no unanimity about its vadi and samvadi. The version heard here makes use of [double Ga & Ni]…the unfolding, rendered in madhya tintal, is touching…”).

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Avroh: SPDm, PGRG, mGRS

Chalan: variable – e.g. SG(R)Gm; PG; SPG(R)Gm; GmPSP; GmP; N(D)NS; SP; PDmP; G(R)Gm; PGmGRS (Parrikar)


—Yunus Hussain Khan (1998)—

[refrain, e.g. 1:35] (PM)P (PM)DP, P/N(SNSN), (NDN)D/S (NS), D(NSNSRNS)N, D(ND) P(DP)G (P)m, Gm, Gm(GPm) m(G)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 | 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: Bihag, Nand, Hameer, Kamod, Maru Bihag, Chayanat, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali


–Swara Geometries–

Core form: SRGmMPDNS
Reverse: SrgmMPdnS
Negative: 3-2-5-2
Imperfect: 1 (Ma)
Detached: none
Symmetries: mirror (mM—NS)
Murchanas: Bihag set

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


–Global Translations–

Carnatic: ~Behag
Jazz: Lydionian
Pitch classes (‘fret-jumps’):

o • o • o o o o • o • o o


• Tanpura: Sa–Pa
• Names: Pat Bihag, Pata Bihaga, Pat Behag


—Rajshekhar Mansur (2005)—



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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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