Carnatic raga
A janya (derived) raga of melakarta 29 Dhirasankarabharanam. It takes its notes from that parent scale, using the ascent and descent shown here.
Your guide to Behag Deshikam
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Press play to hear the notes of Behag Deshikam, rising then falling.
Varied. Traditionally heard at any time.
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Think of a raga as more than a scale: a set of rules and a personality. Behag Deshikam has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
Behag Deshikam sounds bright but dreamy and floating. The raised Ma gives a shimmering, slightly unresolved glow. Its emotional colour is a character all its own. Traditionally it can be performed at any hour, because Indian musicians believe each raga matches the feeling of a certain hour or season.
A janya (derived) raga of melakarta 29 Dhirasankarabharanam. It takes its notes from that parent scale, using the ascent and descent shown here. The beauty of Behag Deshikam comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the melody circling back to Sa. Once you catch it, you've started to recognise Behag Deshikam.
Behag Deshikam is a janya (derived) raga, drawing its notes from its parent melakarta. Janya ragas often existed long before the melakarta system and were later fitted into it.
The Carnatic Trinity of the 18th–19th centuries (Tyagaraja, Muthuswami Dikshitar and Syama Sastri) gave lasting shape to most popular ragas through their compositions. Their kritis remain the standard reference for how each raga should move.
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Arohana (ascent) · 8 notes
S R2 G3 M1 M2 P D2 N3 S'
Avarohana (descent) · 8 notes
S' N3 D2 P M2 M1 G3 R2 S
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Shadjam | Unison | C |
| Chatushruti Rishabham (R2) / Shuddha Gandharam (G1) | Major 2nd | D |
| Antara Gandharam (G3) | Major 3rd | E |
| Shuddha Madhyamam (M1) | Perfect 4th | F |
| Prati Madhyamam (M2) | Augmented 4th | F# |
| Panchamam | Perfect 5th | G |
| Chatushruti Dhaivatam (D2) / Shuddha Nishadam (N1) | Major 6th | A |
| Kakali Nishadam (N3) | Major 7th | B |
Jati (Sampurna–Sampurna). The ascent uses 8 distinct notes and the descent 8. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Melakarta 29 sits in chakra 5 of 12 and uses shuddha madhyamam (M1). Behag Deshikam is a janya (derived) raga, drawing its notes from this parent.
Time (Any time). Not tied to a particular time; often placed by convention at a set point in a concert.
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Same notes, but a different character because of emphasis, movement and phrasing.
Behag Deshikam is associated with: Any time.
Ragas that sound most like Behag Deshikam, and how to tell them apart.
Ragas from the same family or named after Behag Deshikam, such as Yaman and Yaman Kalyan. They are related but each has its own rules.
No well-known Hindi film song is confidently attributed to this raga yet.
No regional film song is confidently attributed to this raga yet.
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).