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…”).
• Raga Megalist (365+) •
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• Hindustani Raga Index •
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…
• 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: Bihag, Nand, Hameer, Kamod, Maru Bihag, Chayanat, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali
–Swara Geometries–
• Core form: S–R–G–mM–P–D–N–S
• 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
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
—Rajshekhar Mansur (2005)—