Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Bihagra has been designated seventh place in the sequence. Under this rag, the Bani of five Gurus and one Bhagat is recorded from page 537 to 556 of the Guru Granth Sahib. It includes five Sabads by Guru Nanak Sahib, thirty-three by Guru Amardas Sahib, twenty-nine by Guru Ramdas Sahib, twelve by Guru Arjan Sahib, one by Guru Teghbahadar Sahib and one salok by Bhagat Kabir.
Bhai Joginder Singh Talwara, Bani Biura, pages 103-108.
Among the rags sung at night, Bihagra is one melodious and effective rag. This rag evokes the emotion of separation in the mind. This rag has been created by making some changes in the notes of Rag Bihag. Scholars have accepted it as a sub-part of Rag Bihag and considered its composition to be a mixture of Bihag and Khamaj thats. Additionally, this rag is also associated with the Bilawal that.
According to Bhai Kahn Singh Nabha also, Bihagra falls under Bilawal that, and its jati is sampuran. Rag Bihag turns into Bihagra by applying Ni flat (komal).
Bhai Kahn Singh Nabha, Mahan Kosh, page 864.
The Encyclopedia of Sikhism, vol 2, page 171.
As per the viewpoint of Kalinath, in Hindustani music, Bihagra is a ragini
A derivative melody acquired by the modification of a rag (musical mode) in the Indian classical music. Its form is closely related to and associated with the rag it has been derived from. In Indian mythology it is personified as the wife of that particular rag.
Prof. Kartar Singh, Gurmat Sangeet Darpan, page 167.
Rag Bihagra is sung and played in three different ways. In its first form Ma sharp (tivar) is used in Rag Bihag to make it Rag Bihagra. In its second form, both notes of Ma and Ni are used. Bhai Avtar Singh and Bhai Gurcharan Singh have also described the same form.
Bhai Avtar Singh and Bhai Gurcharan Singh, Gurbani Sangeet Prachin Reet Ratanavali, page 225.
Prof. Kartar Singh, Gurmat Sangeet Darpan, page 166.
In ‘Guru Nanak Sangeet Padhati Granth,’ the following form of Rag Bihagra is given:
Description of Rag
That: bilaval.
Svar (notes): both Ni, rest all notes are normal (shudh).
Varjit Svar (forbidden notes): Re and Dha (in aroh).
Jati: aurav-sampuran.
Vadi: Ga.
Samvadi: Ni.
Aroh (ascending scale): Ni (mandar saptak - lower octave) Sa Ga, Ma Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha Pa, Ni (komal - flat) Dha Pa, Dha Ga Ma Ga, Re Sa.
Mukh Ang/Pakar (Main Part): Ga Ma Pa, Ni (komal - flat) Dha Pa, Dha Ga Ma Ga, Re Sa.
Singing time
Second quarter of the night.
