রাগ - বেহাগ II Tapas Mallick II Rag - Behag

Описание: এটি বেহাগ রাগের একটি বন্দিশ এবং বিস্তার।
Raag :- Bihag
Swar Notations :-
Swaras :- Rishabh and Dhaivat forbidden (Varjya) in Aaroh, Both Madhyam. Rest all Shuddha Swaras.
Jati :- Audhav-Sampurna Vakra
Thaat :- Kalyan
Vadi/Samvadi Gandhar/Nishad
Time (9 PM - 12 AM): 2nd Prahar of the Night : Ratri ka Dwitiya Prahar
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 Description :- This 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.

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