S-R-G-m-P-D-nN-S
A traditional Bilawal prakar, marked out by phrase patterns such as SGGm, GmPm and a general focus on shuddha ma, also integrating movements from the Malhar, Kedar, and Khamaj families. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s detailed demo breakdown describes it as “a complex raga, with major phrases of Gaud Malhar [e.g. GGm; mRRP, mPDPGPm; GGm; mPmG, GGm; R(R)mP] and Bihagda [e.g. PDPm; GmP; DPmGm] blended with certain [Alhaiya] Bilawal elements [e.g. PNSNDNS; SDnDP; GmGRS; NDNSGS]”. Also refer to renditions from Jaipur-Atrauli pair Kesarbai Kerkar (1949) and Mogubai Kurdikar (1950), as well as by sarodiya and statistician Kalyan Mukherjea – and a Dhrupad–Carnatic rework by veena exponent S. Balachander (“the beauty lies in the vakra use of komal ni”).
• Raga Megalist (365+) •
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• Hindustani Raga Index •
—Manjiri Asnare-Kelkar (2016)—
[refrain, e.g. 3:26] GGm, m(Gm), mG(RS), G(mG)m m(DP) (D)G (P)m, G(RGR) Gm; m\R m\R R/P, (GD)P (DP)DPm, G(mPm)G, SG Gm…
• 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 | 32 | Enclosed | 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.
• Prakriti: Alhaiya Bilawal, Desh, Des Malhar, Champak, Devgiri Bilawal, Kukubh Bilawal, Bihagara, Bihagda, Nat Kamod, Gaud Malhar, Sorath, Arun Malhar, Tilak Malhar
–Swara Geometries–
• Core form: S–R–G–m–P–D–nN–S
• 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’)
–Global Translations–
• Carnatic: ~Bilahari
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
• Tanpura: Sa–Pa
• Names: Shukla Bilawal, Sukla Bilaval, Sukhia Bilawal, Sukhiya Bilawal
—Mallikarjun Mansur (1980s)—