Raga- Marubihag
Artist: Pt. Brij Bhushan Kabra(Guitar)
Live concert Recording(Los Angeles, USA 2005)

An excerpt of this raga presented by Rajan P. Parrikar in his archive: An evening with Raga Marubihag------------
The aroha-avarohana set may be stated as follows:

N' S M, G, m P, N, S" :: S" N D P, m G, m G (S)R, S

Since the aroha-avarohana provides no more than a silhouette of the raga, a few lines will be devoted to fleshing out its central features. The rishab and dhaivat are varjit in the ascending movement. The teevra madhyam is part of the raga's Kalyan heritage and plays a key role. The pancham is the most important nyasa sthana, the centre of melodic gravity, anchoring most of the action. A large number of traditional compositions in MaruBihag have located their sam on pancham. The shadaj, gandhar and nishad are also nyasa bahutva swaras. The rishab merits special attention; it is characteristically intoned with a kan of the shadaj, to wit (S)R, S. The R is thus elongated and approached via the shadaj -- m, GRSR, S. The dhaivat is occasionally rendered deergha as in PD PD (P)m or from the tar S" as in N S" D, P.

The contribution from Bihag is evident in prayogas such as P' N' S G or R N' S G. More dramatic is the piquant introduction of the shuddha madhyam: S M, M G. This foray is often concluded by the Kalyanic m G (S)R, S. The intersection of these movements represents the confluence of the Kalyan and Bihag angas. There is an implicit nod to Bihag in the construction of MaruBihag's tonal ribbons such as N' S G m P or Gm P N. Whereas the teevra madhyam tilts the development assuredly towards Kalyan, the underlying locus derives from Bihag. This subtle interplay of the two melodies is characteristic of MaruBihag. Remember, however, that Bihag is a Bilawal-anga raga. Interestingly, S.N. Ratanjankar has conceived a raga named Marga Bihag with an entirely Bihag-like motion but with the proviso that only the teevra madhyam is deployed.

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