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This rag is very popular.  Some common songs in Bihag are "Boliye Surali Boliyan", "Hamare Dil Se Na Jana Dhokna Na Khana", and "Tere Sur Aur Mere Geet".  It is a late night rag (9:00pm-midnight) of audav-sampurna jati.  Its strong characteristic is the use of both madhyams.  Opinion differs as to which Ma should be given prominence.  The orthodox approach is to give importance to the shuddha Ma.  However, more modern interpretations tend to give importance to the tivra Ma.  It is this emphasis on tivra Ma which causes some musicians to assign this rag to Kalyan that.

Bihag has a moderately complex structure.  This is due to the large number of rags which use both madhyams.  One must pay particular attention to the pakad or else one may impinge upon Hamir, Yaman Kalyan, Kedar, or any of a number of related rags.  The swarup (pakad) is Pa M� Ga Ma Ga.  For those who still adhere to the vadi / samvadi theory, it has been suggested that the vadi is Ga and the samvadi is Ni.  The Re and Dha are not used in the arohana but are used in the avarohana.


Ascending structure for Bihag
(general discussion of arohana) - (general discussion of notation)


Descending structure of Bihag
(general discussion of avarohana)


Audav-Sampurna - (general discussion of jati)


Late night - (general discussion of time and rag)


Bilawal that - (general discussion of that)


pakad for rag Bihag
general discussion of pakad


Sa - Pa - (general discussion of drone)


For more information check out "Elementary North Indian Vocal"



Selected Video










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For comments, corrections, and suggestions, kindly contact David Courtney at [email protected]