All Raags
Raag
Bihag
Where Two Mas Meet
Arohana (Ascending)
S G M P N Ṡ
Avarohana (Descending)
Ṡ N D P M' G M G R S
Tradition
Hindustani
Thaat
Bilawal
Jaati
Shadava–Sampurna
Time of Performance
Late evening (second prahar of the night)
About This Raag
Bihag is a romantic, contemplative raga of the late evening, distinguished by its rare and beautiful use of both shuddha Ma and tivra Ma. In the arohana, Re is omitted and only shuddha Ma appears. In the avarohana, the characteristic phrase M' G M G R S uses both Mas in quick succession — tivra Ma touching Ga before resolving through shuddha Ma. This interplay of the two Mas is the soul of Bihag, giving it a gentle push-and-pull quality. Despite using tivra Ma, Bihag is classified under the Bilawal thaat rather than Kalyan, since shuddha Ma is the dominant form.
Mood & Character
Romantic, serene, contemplative, gentle
Notable Facts
- Uses both shuddha Ma and tivra Ma — a rare and distinctive feature
- Re is omitted in the arohana, appearing only in the descent
- The characteristic phrase M' G M G R S uses both Mas in quick succession
- Classified under the Bilawal thaat despite using tivra Ma
- A deep, meditative raga popular in both dhrupad and khayal traditions