| Swar | Rishabh and Dhaivat Varjya in Aaroh. Both Madhyams. Rest all Shuddha Swaras. |
| Jati | Audhav - Sampurna Vakra |
| Thaat | Kalyan |
| Vadi - Samvadi | Gandhar - Nishad |
| Time | 2nd Prahar of the Night (9PM to 12AM) |
| Vishranti Sthan | S; G; P; N; - S'; N; P; G; |
| Mukhya Ang | ,N S G ; G m G ; P M P G m G ; P M G m G R S; |
| Aaroh - Avroh | S G m P N S' - S' N DP M P G m G RS, S' N D P M G m G R S |
Raag Bihag is a very sweet melody equally popular with both the beginners as well as experts. P M G m G combination is Raag Vaachak. Madhyam Teevra and Madhyam Shuddha are used as follows: M P G m G or M P D M P G m G or P M D P M P G m G.
In Aaroh, Aalaps or Taans are always started with Madhyam Teevra rather then Madhyam Shuddha like: M P ; M P D G m G ; M P N S’ N D P ;. But when Aalaps or Taans are started with any other note, Madhyam Shuddha will be used like: ,N S G m P N S’. In Avroh, Teevra Madhyam is used along with Madhyam Shuddha, like: M G m G; P D P M G m G. In Sapaat Taans (Straight Taans), only Shuddha Madhyam is used in Avroh, like: S’ N D P m G R S.
As far as the Thaat of Raag Bihag is concerned, in olden days the Thaat was considered as Bilawal, as Madhyam Teevra was not used. No doubt the Raag is full of Bilawal Ang, for example D-G sangati, PmG RS etc. However in recent times the use of Madhyam Teevra is in practice. It is extensively used in different ways like MPGmG, N DP M P G m G, MPDMP GmG, P MGmG mG RS (still keeping Bilawal Ang intact). In view of use of Madhyam Teevra many renowned musician categorized Raag Bihag in Kalyan Thaat.
In Avroh, Rishabh and Dhaivat are not used as resting notes however they are used in Meend. In this Raag, Nishad is a prominent note and Aalaps or Taans are generally started from this note. This Raag is full of Shringar Ras. This is a Poorvang Pradhan Raag.
Raag Bihag Bandishen
All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’ and are published in his book “Acharya Tanarang Ki Bandishen Vol 1”. This book contains the notation and audio of 389 Bandishen from 31 Raags. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information and to buy this book, please contact us.
1 | Bada Khyal - Rajan Ke Raja Taal - Ektal Vilambit Theme - Guru Vandana | |
2 | Sadra - Uchat Gai Neendariya Taal - Jhaptal Vilambit Theme - Virah Ras | |
3 | Sadra - Ginat Rahi Tare Piya Nahi Aaye Taal - Jhaptal Vilambit Theme - Virah Ras | |
4 | Madhya Lay Khyal - Kaiso hai ye Tero Taal - Jhaptal Madhya Lay Theme - Shri Krishna - Gopiyon se Chedchad | |
5 | Chota Khyal - Jamuna Pe Baje Taal - Trital Drut Theme - Shri Krishna - Murlidhar | |
6 | Chota Khyal - Jhanan Jhanan Baje Taal - Trital Drut Theme - Shri Krishna - Balyakaal | |
7 | Chota Khyal - Rang Rang Barse Aaj Taal - Trital Drut Theme - Shringar Ras | |
8 | Chota Khyal - Balamuwa Bisro Ri Taal - Ektal Drut Theme - Virah Ras | |
9 | Sargam - Pa Ga Ma Ga Ni Sa Ma Ga Taal - Trital Drut |
Raag Bihag By Acharya ‘Tanarang’
Chota Khyal: Jamuna Pe Baje Taal: Trital
Raag Bihag By Shri Prakash Vishwanath Ringe
Chota Khyal: E Mora Re Mora Re, Taal: Trital