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Behag

Janya of Sankarābharaṇam (29) — audava-sampūrṇa, bhāṣāṅga (M₂ anya)

Joyful, celebratory

✓ Verified against Subbarama Dīkṣitar, SSP (1904)· 2026-07-02How we verify

Ārōhaṇa (ascending)

  1. S
  2. R₂
  3. G₃
  4. M₁
  5. P
  6. N₃
  7. Ṡ

Avarōhaṇa (descending)

  1. Ṡ
  2. N₃
  3. D₂
  4. P
  5. M₂
  6. M₁
  7. G₃
  8. R₂
  9. S

Signature phrase

S R₂ G₃ M₁ P N₃ Ṡ N₃ D₂ P M₂ M₁ G₃ R₂ S

The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.

When to play

Late concert, tukkada section, or dance programs. Not the first choice for deep ghana tanam.

Time: Night (romantic register).Rasa: Śṛṅgāra and hāsya lightness.Position: flexible

Gamaka signature

Ga and Ni take soft kampita; Ma may lean toward prati colour in some lineages. Signature is a sliding, thumri-like delivery rather than heavy gamaka density.

Historical context

Cross-pollinated with Hindustani Behag; in Carnatic programs it signals the lighter, audience-facing close of a long recital.

Key compositions to hear first

  • Smarajanaka — Svāti Tirunāḷ
  • Tillana in Behag — Lalgudi Jayaraman (concert staple)

Listen to Behag

Arōhaṇa-avarōhaṇa exposition with tampura drone.

Sangeet Parijat — Ahobala's notes

Graha (opening)
Sa
Aṁśa (king svara)
Ga
Nyāsa (rest svara)
Sa
Time
After 3rd prahara
Gīti
Bhinnā
Gamaka
kampita

Hindustani Behāg adopted into Carnatic. Parijat-era; uses tīvra Ma sparingly (only in descent N-D-tīvraM-G). Late-evening raga, śṛṅgāra rasa.

Compose in this ragaPractice this raga

Similar ragas

Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.

Behag — Karunattu