• Raag Kukubh Bilawal •

S-R-G-m-P-D-nN-S


A Bilawal variant seasoned with poorvang shades of Jhinjhoti and Jaijaiwanti, which enjoys a notable presence in the Jaipur-Atrauli gharana. Shuddha Re typically takes centre stage, often ornamented from above as (G)R. Distinguishing phrases include SNS(G)R, GRGPmG, mGRGS(G)R, with most other movements falling into the framework of Alhaiya Bilawal (although the Agra interpretation tends to include various additional features: e.g. Gajananbuwa Joshi). Tabla scholar Aneesh Pradhan recommends renditions by B.R. Deodhar, D.V. Paluskar, and Mallikarjun Mansur (“an opportune way to celebrate Holi would be to soak in the many colours of Kukubh Bilawal…”) – and also refer to a fascinating essay by Mansur’s son Rajshekhar, reflecting on his experiences teaching the raga (“over these four days, the raga has been developing in many unpremeditated ways. The phrases come by themselves, without my having to think or deliberate….I’ve been seriously thinking about this strange phenomenon…[but] at such junctures, I revel in only continuing the myriad ways in which the raga is unfolding…”). Also compare to other Jaijaiwanti-infused ragas including Gara, Jayant Malhar, Jaijaiwanti Nat, and Lanka Dahan Sarang.


Raga Megalist (365+) •
Search | Glossary | Tags
Hindustani Raga Index •

BlackLineNARROWER

Aroha: SRGPDNS
Avroh: SNDnDP, mGmRS

Chalan: Bilawal plus motifs e.g. SNS(G)R, GRGPmG, mGRGS(G)R (Parrikar)

BlackLineNARROWER

—Ulhas Kashalkar (1993)—


[alap, e.g. 0:05] G, m(GR) (GR)G (RS)S, S\n D P, (P)N, (N)S; (NS)G G mGR(GR)G RS(NRS), (NS)G mm, mG (GmG)P PP, D(P) D(P) (DP)D Pmm G(mGRG), G(RGmG)PmG mG(m)R, (SNRSN)S…

BlackLineNARROWER

• Ragmalas •

Historic miniature paintings (learn more)

“Kakubha Ragini: a lone woman, accompanied by peacocks, wanders the forest holding garlands as she awaits her beloved. She rises above the groundline, literally ‘losing her footing’ as her hopes turn to fears that her lover may not show…” (Marwar, c.1630) / “Kakubha Ragini, wife of Megha: opaque watercolour on paper” (Hyderabad, c.1760)

BlackLineNARROWER

• 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.

BlackLineNARROWER

• Prakriti: Desh, Des Malhar, Champak, Alhaiya Bilawal, Devgiri Bilawal, Bihagara, Bihagda, Nat Kamod, Gaud Malhar, Sorath, Arun Malhar, Tilak Malhar

BlackLineNARROWER

–Swara Geometries–

Core form: SRGmPDnNS
Reverse: SrRgmPdnS (=Gandhari)
Negative: 5-2-3-2
Imperfect: 1 (Ni)
Detached: none
Symmetries: mirror (Gm—nN)
Murchanas: Bihag set

Quirks: maximal‘ (swaras are optimally ‘spread out’)

BlackLineNARROWER

–Global Translations–

Carnatic: ~Kedaragaula
S-R2-G3-M1-P-D2-N2-N3-S
Jazz: Bebop Dominant
1-2-3-4-5-6-b7-7-8
Pitch classes (‘fret-jumps’):
0-2-4-5-7-9-10-11-0
(2–2–1–2–2–1–1–1)

o • o • o o • o • o o o o


BlackLineNARROWER

• Tanpura: Sa–Pa (+Ni)
• Names: Kukubh Bilawal, Kukub Bilaval, Kookoobh Bilawal

BlackLineNARROWER

—Kishori Amonkar (1988)—

BlackLineNARROWER

 

Get started with learning raga! •

Share these ragas! My site is 100% reliant on organic visitors (and none of your donations go to ad agencies…) – share this with fellow sonic searchers!

[MORE TO FOLLOW]

Like everything on my site, the Raga Index will always remain open-access & ad-free: however, anti-corporate musicology doesn’t pay the bills! I put as much into these resources as time and finances allow – so, to hasten the project’s expansion, you can:

Support the Raga Index! •

—Riyaz-focused notations & bandish—
—Resurrecting rare and ancient ragas—
—Further melodic & geometric analysis—
—Engaging with Hindustani performers—
—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—

 

Hindustani Raga Index

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 2023-24]

Megalist (365+ ragas)
Search: Find your new favourite •
Tags: Classifying the ragascape •
Glossary: Raga jargon demystified
Murchanas: Swara-set rotations •
Thaat: Bhatkhande’s base scales •
Ragatable: Analytical connections •
Tanpuras: Divine overtonal drones •
Quotes: Musings from raga artists •
Talas: Hindustani rhythm cycles •
Sa | Re | Ga | Ma | Pa | Dha | Ni
[Random Raga]

—Search the Raga Index—

Feedback / Contact •

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!

Projects & articles: full list •

everything 100% ad-free and open-access