Purvi vs Bihag
A study guide for two raags that a cited source names as similar. Every field is cited; no musician has reviewed this comparison yet.
Side by side on the twelve swaras
Lit notes are each raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary's core swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary set. An arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary can add notes or touches outside it; play them to hear where the two raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary part.
Raag Purvi
Tap a lit note to hear it · Synthesized for study — not a recording
Raag Bihag
Tap a lit note to hear it · Synthesized for study — not a recording
Purvi
Purvi thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, late afternoon to sunset (fourth praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the day, about 3–6 pm)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa re Ga Ma(tivra) Pa dha Ni Sa'
Source: Artium Academy +1
- Artium Academy, Raag Poorvi page, aroha
- Riyaz, Public glossary / Aaroh
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni dha Pa Ma(tivra) Ga Ma Ga re Sa
Source: Artium Academy +1
- Artium Academy, Raag Poorvi page, avaroha
- Raagist, Avrohi
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ni re Ga Ma Ga; Ga Ma re Ga Ma Ga; re Ga Ma(tivra) Pa Ma(tivra) Ga Ma re Ga
Source: AUTRIM
- AUTRIM, Purvi page, characteristic phrases
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ga
Source: Artium Academy +4
- Artium Academy, Raag Poorvi page, profile details
- Raagist, Vadi
- Online Sangeet, Description / Vadi
- Raga Junglism, Introduction / melodic summary
- Riyaz, Public glossary / Vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ni
Source: Artium Academy +3
- Artium Academy, Raag Poorvi page, profile details
- Raagist, Samvadi
- Online Sangeet, Description / Vadi
- Riyaz, Public glossary / Samvadi
Bihag
Kalyan thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, early night (first praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the night, about 6–9 pm)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Ga Ma Pa Ni Sa'
Source: IGNOU OMU-001 +5
- IGNOU OMU-001, §1.3 b) Bihag, Aroh; printed p.6
- Artium Academy, Raag Bihag page, aroha
- Darbar, Bihaag/Behaag - Darbar, aroha
- Shankar Mahadevan Academy, Raga Bihag: The Sweet Romantic Night Raga Guide, aroha
- AGK Sangeet, Raag Bihag | AGK Sangeet, aroha
- Ragakosh, Raga Bihag - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, aroha
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Pa Ma(tivra) Pa Ga Ma Ga Re Sa
Source: IGNOU OMU-001 +3
- IGNOU OMU-001, §1.3 b) Bihag, Avroh; printed p.7
- AGK Sangeet, Raag Bihag | AGK Sangeet, avaroha
- Darbar, Bihaag/Behaag - Darbar, avaroha
- Ragakosh, Raga Bihag - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, avaroha
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ni Sa / Ga Re Sa; Sa / Ma Ga -; Ga Ma Pa Ga Ma Ga -; Pa \ Ma(tivra) Ga Ma Pa Ma Ga -; Pa - Dha \ Ga Ma Ga -
Source: AUTRIM
- AUTRIM, Bihag page, characteristic phrases
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ga
Source: IGNOU OMU-001 +5
- IGNOU OMU-001, §1.3 b) Bihag; printed p.6
- Artium Academy, Raag Bihag page, profile details
- AGK Sangeet, Raag Bihag | AGK Sangeet, vadi
- Darbar, Bihaag/Behaag - Darbar, vadi
- Shankar Mahadevan Academy, Raga Bihag: The Sweet Romantic Night Raga Guide, vadi
- Ragakosh, Raga Bihag - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ni
Source: IGNOU OMU-001 +5
- IGNOU OMU-001, §1.3 b) Bihag; printed p.6
- Artium Academy, Raag Bihag page, profile details
- AGK Sangeet, Raag Bihag | AGK Sangeet, samvadi
- Darbar, Bihaag/Behaag - Darbar, samvadi
- Shankar Mahadevan Academy, Raga Bihag: The Sweet Romantic Night Raga Guide, samvadi
- Ragakosh, Raga Bihag - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, samvadi
Why students confuse them
Shares Pa Ma(tivra) Ga Ma Ga, with different intonation.
Source: AUTRIM
- AUTRIM, Purvi page, description
Study focus
Purvi
Hear the light komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re touch before Ga, and the closing phrase Ma(tivra) Ga re Sa.
Bihag
Keep Re and Dha light, bring out Ga and Ni, and use tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary only in descending turns.