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.
Audav-Sampurna - (general discussion of jati)
Late night - (general discussion of time and rag)
Sa - Pa - (general discussion of drone)
For more information check out "Elementary North Indian Vocal"
Ustad Bade Ghulam Ali Khan - Raag Bihag, drut, teental
Dhrupad: Raga Bihag - Part 1 - Bahauddin Dagar, Rudara Veen
Dhrupad: Raga Bihag - Part 2 - Bahauddin Dagar, Rudra Veen
Ustad Barkat Ali Khan, Raag Bihag
Dr. Kamala Shankar (shankar-guitar): Raga Bihag gat2
Rishi Dhir - Raag Bihag - Indian Classical Vocal
Arvind Parikh - Bihag (excerpts)
Alan Posselt - Bihag
Pt. Budhaditya Mukherjee-Bihag Razakhani Drut Gat
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For comments, corrections, and suggestions, kindly contact David Courtney at [email protected]