• Raag Bilawal •

S-R-G-m-P-D-N-S


Approximates the Western Major Scale, thus taking an ‘all-shuddhasampurna swara set – and selected by the great V.N. Bhatkhande as the titular raga of Bilawal thaat – although its popularity has declined in the century since (partly in favour of prakritis such as Tilak Kamod and Bihari). Dha and Ga assume vital roles (although Dha should not be a nyas), and ma is sometimes omitted in ascent – while the inclusion of komal Ni brings shades of Alhaiya Bilawal (…some say the ragas are indistinguishable). With possible origins in Veraval, Gujarat, the raga features prominently in Sikh history – with hundreds of shabads set to the raga by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Tegh Bahadur, and other saints (one Sikh writer describes the raga’s mood as “an overwhelming feeling of fulfilment, satisfaction and joy…like laughing out loud, there is no planning or ulterior motive”). Traditionally linked to the morning hours, and the hot summer sun.


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[alap phrases, e.g. 0:10] (S)G, G, G(mGmG) RGR(SNSNDNRG), (R)G RS, (PN)SRGP(DPm)G, GmG(RmGRSNSRG)m G(RS), NRS…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):


Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.


Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

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–Swara Geometries–

Core form: S-R-G-m-P-D-N-S
Reverse: SrgmPdnS (=Bhairavi)
Inverse: ni; SgmdnS (=Malkauns)
Imperfect: 1 (Ni)
Detached: none
Symmetries: mirror (R—d)
Murchanas: Bilawal set

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–Global Translations–

Carnatic: Sankarabharanam
S-R2-G3-M1-P-D2-N3-S
Jazz: Major / Ionian
1-2-3-4-5-6-7-8
Pitch classes (‘fret-jumps’):
0-2-4-5-7-9-11-0
(2–2–1–2–2–2–1)

o • o • o o • o • o • o o


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• Tanpura: Sa–Pa (+Ni)
• Names: Bilawal, Bilaval, Bilaawal, Shuddha Bilawala, Vilāval (historic)

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—Ajoy Chakraborty (2020)—

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An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023]

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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