This was my first attempt at Maru Bihaag at the Hayward Gurudwara:

I have been looking to compose for Guru Tegh Bahadur's Maru shabad, 'Ab Main Kahaa Karoon Ri Mai,' for which the mood of Maru Bihag is quite appropriate in my opinion. I will talk about this shabad in a different post, and here I present some of the research I did on the Maru Bihag.

Maru Bihag

Maru Bihaag is popular contemporarily among Indian classical enthusiasts. Kirtan in Maru Bihag:

http://www.keertan.org/keertan/Raagi%20Keertan/Bhai%20Avtar%20Singh%20Jee/CD%20Album%20-%20Compilation%20of%20Various%20Forms%20of%2031%20Raags/21%20-%20Maru%20Bihag%20-%20Sanjog%20Vijog%20Dhurahu%20Hee%20Hooaa%20%28Chanchal%29.mp3

The defining characteristics of Maru Bihag are evident clearly in two popular modern day compositions, 'Rasiya Ho Na Ja' popular among several classical indian components of modern time and Lata and Mohd. Rafi's memorable 'Tum To Pyaar Ho.' Following are the links to these compositions:

Kesar Bai's 'original' Rasiya
Varada Godbole's Rasiya video
Bhimsen Joshi's Rasiya
Roshanara Begum's Rasiya

Some other compositions in Maru Bihaag:
Tum to Pyaar Ho
Sarod video by Amjad Ali Khan
Shubha Mudgal's Maru Bihaag
"Kaise Sukha Sove" By Padma Tawalkar
"More Re" By Padma Tawalkar
Dadra by Barkat Ali Khan

June 6, 2008 Update
Here is a Maru Bihag rendiion by Begum Parveen Sultana. Notice in the swar vistar at 1:50: .Dha .Ni Sa ma Ga, Ma Ga Re Sa ... all the way to mandra Sa! Use of tevraa Ma after shudha ma and Ga is subliminal.