| Swar | Rishabh Varjya in Aaroh. Both Nishads. Rest all Shuddha Swaras. |
| Jati | Shadhav - Sampurna |
| Thaat | Bilawal |
| Vadi - Samvadi | Gandhar - Shuddha Nishad |
| Time | 2nd Prahar of the Night (9PM to 12AM) |
| Vishranti Sthan | G; m; N; |
| Mukhya Ang | S G m P ; m P G (R) S; G m n D P ; G m G ; G m P N S' ; S' N P ; D n D P ; G m G ; mP mP G (R) S; |
| Aaroh - Avroh | S G m P N S' - S' N (D)P ; P D n D P ; G m G ; P m G (R) S; |
Raag Bihagda is a flavor of Raag Bihag, so it’s chalan is similar to that of Raag Bihag. This Raag is a mix of Raag Bihag and Raag Khamaj.
In Raag Bihagda, Shuddha Nishad is used in Aaroh and Avroh both, but Komal Nishad is only used in Avroh. This Raag is more tilted towards Raag Bihag, hence the Aaroh goes like this: S G m P N S’. However, as Dhaivat is allowed in Aaroh, S G m P D N S’ may also be taken, but it’s scarcely used. Like Raag Bihag, Rishabh and Dhaivat are respectively used as Kan Swar while rendering G (R) S and N (D) P.
Shuddha Madhyam is very important and a Nyas Swar. Teevra Madhyam is very rarely used to increase melody of the Raag.
Komal Nishad is used as follows: G m n D P ; G m G ; or G m P D n D P; G m G. Komal Nishad brings out the Khamaj Ang in this Raag. In this way, Bihagda is conceived by beautiful combination of Raag Bihag and Raag Khamaj.
But, the artist should be careful not to venture into Raag Bihag or Raag Khamaj. To avoid Raag Khamaj, these notes are helpful: P m G (R) S ; P N S’ ; S’ N P , similarly to avoid Raag Bihag, these notes are used: n D P ; G m G . Raag Bihagda can be easily expanded in all the three octaves.
Following notes are illustrative of Raag Bihagda:
S ; ,N ,N S ; S ,N (,D) ,P ; ,P ,N S ; ,N S G ; G m G (R) S ; S G ; G m P mP G (R) S ; S G m D ; D P ; G m P m P G (R) S ; G m P D n D P ; G m G ; G m P N S’ N (D) P ; D N S’ N P ; D n D P ; P D G m G ; P m G (R) S ; G m n D P ; G m P S’ ; N S’ G’ R’ S’ ; S’ R’ S’ N (D) P ; n D P ; G m G ; G m P m P ; G (R) S;
Raag Bihagda Bandishen
All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information, please contact us.
1 | Bada Khyal - Kaise Dharu Dheer Re Tanarang Taal - Ektal Vilambit Theme - Virah Ras | |
2 | Chota Khyal - Baje Mori Payal Jhananana Ri Taal - Trital Drut Theme - Shringar Ras | |
3 | Chota Khyal - Kanha Dagar Chalat Jin Nain Taal - Trital Drut Theme - Shri Krishna - Gopiyon se Chedchad | |
4 | Chota Khyal - Lagan Lagi Daras Ki Ab Taal - Trital Drut Theme - Virah Ras | |
5 | Chota Khyal - Murali Me Meethi Taan Sunaye Taal - Trital Drut Theme - Shri Krishna - Murlidhar | |
6 | Chota Khyal - Nain Uljhe Na Suljhe Taal - Trital Drut Theme - Shri Krishna - Gopiyon ki Vyakulta | |
7 | Tarana - Dir Dir Tanan Tanan Tan Deemtan Derena Taal - Trital Drut Theme - Suitable for Dance | |
8 | Sargam - Ga Ma Pa Dha Ni Dha Pa Taal - Trital Drut |