S-R-G-mM-P-D-N-S
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…”). Compare and contrast with other members of the Bihag raganga.
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राग पट बिहाग
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Aroha: SGRGm, GmPNDNS
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…
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Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas
#raga #jazzguitar #indianmusic #icm #londonmusic
Sep 30
E8 Boogie (Squarepusher): @sqpusher did I get them right? Tried to work out guitar voicings for this curious chord sequence in E8 Boogie (…originally at the request of a student!)
Original: Squarepusher/Tom Jenkinson (from 1997’s Hard Normal Daddy)
#jungle #jazzguitar #warprecords #idm #dnb @warprecords
Sep 27
Raag Jaiwanti Todi (SrgmPDnS): An Ahiri-prakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): the hereditary ruler of Sanand who gained wide renown as a spiritual teacher, vocal educator, and generous patron of the nascent Mewati gharana (also the creator of Gyankali and other ragas). Sung here by his student Pandit Jasraj – a bandish I’ve always loved, especially the ferocious taan and colourful harmonium accompaniment…
—Original: Pandit Jasraj (khayal); Appa Jalgaonkar (harmonium); Nizamuddin Khan? (tabla)
#raga #khayal #indianmusic #worldmusic #icm
Sep 22
Raag Prabhateshwari (SrgmPDnS): A mysterious raga created by Hariprasad Chaurasia, played here by his nephew Rakesh – resembling a blend of the morning Ahir Bhairav and the late night Bageshri. I was inspired to learn the raga when researching Maa Annapurna Devi’s time teaching Hariprasad (many thanks to my crack team of experts including Rupak Kulkarni, Alam Khan, George Ruckert, Suresh Vyas, Anindya Banerjee, and Gopi Shanker, who all gave valuable assistance in illuminating the raga’s origins)
—Original: Rakesh Chaurasia (bansuri), live at Darbar 2008 @chaurasia_rakesh @darbarfestival
#raga #darbarfestival #indianmusic #bansuri #worldmusic
Sep 15
• 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: Bihag, Nand, Hameer, Kamod, Maru Bihag, Chayanat, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali
Also compare to other members of the Bihag raganga
–Swara Geometries–
• Core form: S–R–G–mM–P–D–N–S
• Reverse: SrgmMPdnS
• Complement: SrgdnS
• Imperfect: 1 (Ma)
• Detached: none
• Symmetries: mirror (mM—NS)
• Murchanas: Bihag set
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Behag
S-R2-G3-M1-M2-P-D2-N3-S
• Jazz: Lydionian
1-2-3-4-#4-5-6-7-8
• Pitch classes (‘fret-jumps’):
0-2-4-5-6-7-9-11-0
(2–2–1–1–1–2–2–1)
o • o • o o o o • o • o o
• Tanpura: Sa–Pa
• Names: Pat Bihag, Pata Bihaga, Pat Behag
• Transliterations: Hindi (पट बिहाग)
—Kishori Amonkar (1967)—
From Kishori’s 1967 debut LP – as per the album’s liner notes, “Pat Bihag, which is usually sung in the early hours of the night, is so complex in its structure that few attempt it. It takes [both Ga and Ni]…the artistic use of [komal ga and ni] gives it a tenderness all of its own. The song presented here [Dhana Dhana Mana Gawo] is rendered in tintal at medium tempo…”
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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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