At Pritam Manmohana | Raag Bihagada | RoopakTaal | Raagi Mohan Singh | Sukhdev Singh | Shabad Kirtan

#shabadkirtan 'At Pritam Manmohana' #RaagBihagada #RoopakTaal performed by #HazuriRaagi #Gurdwara #SriBhainiSahib #SarabKalaSamrath #100years #SatguruJagjitSinghJi
Gurbani from #AadSriGuruGranth by #SatguruArjanDevJi #traditionaltune #sikhmusic
Featuring
#RaagiMohanSingh
#RaagiSukhdevSIngh
#RaagiHarpreetSingh #Sonu #Tabla
#RaagiGurdialSingh #Sitar
#RaagiDavinderSingh #TaarShehnai
Producer: #VishavNamdhariSangat #KikButtEntertainment
Director | Editor: #TaranjietSinghNamdhari
Mixing: Boby John Mathai
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[@gurindersingh614]

Dhan dhan shri satguru Ram singh ji maharaj🙏🏽🎉

[@singiishful]

This heavenly music can only come from disciples of Sri Satguru Jagjit Singh Ji

[@gursewaksingh9502]

🌹🙏🙏🌹ਧੰਨ ਧੰਨ ਸ੍ਰੀ ਸਤਿਗੁਰੂ ਜਗਜੀਤ ਸਿੰਘ ਜੀ ਮਹਾਰਾਜ 🌹🙏🙏🌹

[@gagandeepiiitd4377]

Waah!!!

[@deepjagdeepkaurhunjan4150]

Dhan Guru Arjan Dev ji

[@harvindersinghsian1204]

Only gets better daily ..thanks veer ji for the daily premieres. Appreciated Harvinder Singh Sian...

[@TaranjietSinghNamdhari]

Always welcome

[@harvindersandhu5938]

🙏 ❤ 🙏

[@tbimbra]

Wonderful kirtan

[@gagandeepiiitd4377]

I want to understand what is difference between raag bihagra and raag bihag?
I am a student. Just a humble question.

[@TaranjietSinghNamdhari]

Raag Bihagda is a flavor of Raag Bihag, so it's chalan is similar to that of Raag Bihag. This Raag is a mix of Raag Bihag and Raag Khamaj.
In Raag Bihagda, Shuddha Nishad is used in Aaroh and Avroh both, but Komal Nishad is only used in Avroh. This Raag is more tilted towards Raag Bihag, hence the Aaroh goes like this: S G m P N S'. However, as Dhaivat is allowed in Aaroh, S G m P D N S' may also be taken, but it's scarcely used. Like Raag Bihag, Rishabh and Dhaivat are respectively used as Kan Swar while rendering G (R) S and N (D) P.
Shuddha Madhyam is very important and a Nyas Swar. Teevra Madhyam is very rarely used to increase melody of the Raag.
Komal Nishad is used as follows: G m n D P ; G m G ; or G m P D n D P; G m G. Komal Nishad brings out the Khamaj Ang in this Raag. In this way, Bihagda is conceived by beautiful combination of Raag Bihag and Raag Khamaj.
But, the artist should be careful not to venture into Raag Bihag or Raag Khamaj. To avoid Raag Khamaj, these notes are helpful: P m G (R) S ; P N S' ; S' N P , similarly to avoid Raag Bihag, these notes are used: n D P ; G m G . Raag Bihagda can be easily expanded in all the three octaves.
Following notes are illustrative of Raag Bihagda: S ; ,N ,N S ; S ,N (,D) ,P ; ,P ,N S ; ,N S G ; G m G (R) S ; S G ; G m P mP G (R) S ; S G m D ; D P ; G m P m P G (R) S ; G m P D n D P ; G m G ; G m P N S' N (D) P ; D N S' N P ; D n D P ; P D G m G ; P m G (R) S ; G m n D P ; G m P S' ; N S' G' R' S' ; S' R' S' N (D) P ; n D P ; G m G ; G m P m P ; G (R) S;

[@gagandeepiiitd4377]

@@TaranjietSinghNamdhari thanks for the reply :)

[@kanwaljitsingh8391]

@Taranjiet Singh Namdhari how can one reach you?