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

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Approximates the Western Major Scale, thus taking an ‘all-shuddha’ sampurna 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). Ga assumes a vital role, as does Dha: which, though generally held as the vadi, should not be unduly paused on or elongated (e.g. PDmGmRS) – a curious, distinctive feature of the Bilawal DNA. Shuddha ma is sometimes omitted in ascent – while the optional addition of komal ni in avroh motions summons the overlapping Alhaiya Bilawal (…otherwise, the ragas are essentially 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 – SikhWiki 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 pleasant warmth of the summer sun. Also see how Bilawal has been depicted in ragmala paintings, as well as a melodic overview – and compare to other ragas from the extensive Bilawal raganga.

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• Raga Masterlist (1000+) •

राग बिलावल

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SRGPDNS

Avroh: SNDPmGRS

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Pakad: e.g. SG(RG)P; P(ND)NS; PD(m)GmRS

Chalan: e.g. SGRGP; GPD(N)DPmG; GPNDNS; RS(N)DnDP; GmnDP; DGPmG; RGPmG; (m)RS

• The shuddha Dha vadi plays an idiosyncratic role – prominent without being paused on or elongated (e.g. PDm; DmG; PD(m)G)

• Shuddha ma is weak or absent in ascent – with the Sa-Ga-Pa ‘major triad’ preferred as nyas (e.g. SGRGP; GmGRGP; GRGPDmG; PDPmGRS)

• Shuddha Ga is strong throughout, paired with shuddha Re as G(RG)P and highlighted in characteristic avroh lines such as N(DN)PmG – with the congruent G(RG) and N(DN) spaces allowing for ‘paired’ ornaments (e.g. SG(RGR)G; PN(DND)N)

• The inclusion of komal ni in descending phrases such as DnDPmG creates the otherwise-identical Alhaiya Bilawal

• Traditionally linked to the early morning hours, and sometimes to the hot summer sun – generally favouring bright, energetic treatments

• Compositions •

—Bhimsen Joshi (Kirana khayal):

• [tintal] (N)D NNS, (S)G, GRS(NS) | G(RSRG)mPmP, GmPDN Dm, D P\G, GmGP mGRS 

—Bhimsen Joshi (1995)—

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[alap, 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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• Ragmalas •

Historic miniature paintings (learn more)

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“Velavala, putra of Bhairava: opaque watercolour and gold” (Basohli, c.1710)

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“Vilaval is performed in the morning, as suggested by the sun rising in a dark sky. A lady, preparing to meet her lover, looks in a mirror and fixing her earrings…” (Sirohi, c.1680) / “The heroine, with her confidante, completes her toilette ritual in preparation for her rendezvous with the hero, expressing joy at the anticipation of love…” (Rajasthan, c.1720)

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• Classifiers •

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

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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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Bilawal thaat, Bihari, Tilak Kamod, Nat, Hem Bihag, Savani, Swanandi, Gagan Vihang, Maluha, Mand, Chaya Malhar, Hemant, Loom, Manjari Bihag

Also compare to other members of the Bilawal raganga

–Proximate Forms–

Khamaj = ‘Bilawal komal ni‘

Patdeep = ‘Bilawal komal ga‘

Yaman = ‘Bilawal tivra Ma‘

Bihag = ‘Bilawal double Ma‘

Nat Bhairav = ‘Bilawal komal dha‘

Bhatiyari Bhairav = ‘Bilawal komal re‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–R–G–m–P–D–N–S

• Reverse: SrgmPdnS (=Bhairavi)

• Complement: SrgMdnS (=Mangal Gujari)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bilawal set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

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–Global Translations–

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• Carnatic: ~Sankarabharanam (mela #29)

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)

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o • o • o o • o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Bilawal, Bilaval, Bilaawal, Shuddha Bilawala, Bilaval, Vilāval (historic)

• Transliterations: Hindi (बिलावल); Bengali (বিলাবল); Punjabi (ਬਿਲਾਵਲ)

—Ajoy Chakraborty (2020)—