S-R-G-mM-P-D-N-S

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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

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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)—

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[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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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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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

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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–

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• 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

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

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–Global Translations–

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• 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)

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o • o • o o o o • o • o o

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• Tanpura: Sa–Pa

• Names: Pat Bihag, Pata Bihaga, Pat Behag

• Transliterations: Hindi (पट बिहाग)

—Kishori Amonkar (1967)—

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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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