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

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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, Khamaj, and Kedar families. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s detailed demo breakdown (transcribed in full below) describes it as “a complex raga, with major phrases of Gaud Malhar and Bihagda blended with certain Alhaiya Bilawal elements. 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 take by beenkar S. Balachander (“the beauty lies in the vakra use of komal ni”). Compare to other members of the Bilawal raganga.

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राग शुक्ल बिलावल

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—Manjiri Asanare-Kelkar (2016)—

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[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…

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Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today I have a complex raga, Shukla Bilawal. I will begin with the bandish: SG (RSN)S, SGm(Gm), RmnP m(PmG)m G(R)GGm, m mRP, DPDPmG, GmPmG G(R)S, SG(RG) Gm G(PmG) mRP, mDPm(G)m GGm, PN(SNDN)D, NS(NS) S(RSN)S, SGG, GmPmG(R)S, SDnDP, PSS SRS DnP, D(PD)PDPm, GGm, mRmRP, mDP m(GRG)m (GR)GGm.

 

Being a Bilawal group raga, it is sung in the morning. These particular Bilawal phrases are present: NDN NDS, SDnDP, PN(SN) NDS, SSG(mG) mGRG RS, SSG(m)G RG(R)S, NDN, DNSG RS; P PNDN(SN) N(SN)DNS, S(NS)D nDP, PN DNS, SDnDP.

 

As a ‘complex’ raga, there are phrases which are combined from different ragas and angas. This major phrase is taken from Gaud Malhar: GGm (m)RP, mDPDGPm GGm, mP m(Pm)G, GGm, (m)RP. A second phrase is taken from the Bihagara group: PD(P)m, GmP, DPmPGm.

 

These phrases are blended with the Bilawal phrases to create Shukla Bilawal. Now I will demonstrate, using my thumb for Gaud Malhar, and my index finger for the Bihagara-ang: NDN NDNS, SSG mG RS, SG Gm, mP m(PmGm)G Gm, G(m)GRGS, (m)R(m)RP, mDPDGPm, GGm RRP, PD(P)m, Gm GmPmG GRS, SG Gm, (m)R(m)RP, PN(SN) NDNS, SD nDP, PN DNS DnDP, PD(P)m PmG Gm, GmPmG GRS, SG Gm.

 

I just mentioned that the structure of this particular Shukla Bilawal follows the reference of the bandish I sang at the beginning. But my guru-ji Appa [MS Kanetkar] gave me three different Shukla Bilawal bandishes, all slightly different. That is why I always emphasise the point that when we think about these ‘complex’ ragas, we must refer to the structure of the raga in a particular bandish.

 

Now I will again demonstrate the structure of Shukla Bilawal in this bandish (Aaje Baje): SG Gm, mGmG RS, N(DN)S, SG RS(NS), GGm (m)R(m)RP, DPD PmG m, m mDPm GGm, mG GRG RS; GP PN(D)N, S(NSN)S, N(SRSN)S, SD nDP, PSD nDP DPm, m(D)P PG mGm, GGm, (m)R(m)RP, DPmG, G(mGPm)G RS(N)S, N(DN)S, S(NDN)SG RS. That is the overall picture. I will now conclude with this bandish, in jhaptal…”

 

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—Shukla Bilawal (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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

Also compare to other members of the Bilawal and Malhar ragangas

–Swara Geometries–

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• Core form: S–R–G–m–P–D–nN–S

• Reverse: SrRgmPdnS (=Gandhari)

• Complement: SrgMdS (=Firozkhani Todi)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (Gm—nN)

• Murchanas: Bihag set

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

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–Global Translations–

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• 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)

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o • o • o o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Shukla Bilawal, Sukla Bilaval, Sookla Bilawal (n.b. ‘Sukhiya Bilawal‘ is a distinct raga)

• Transliterations: Hindi (शुक्ल बिलावल)

—Mallikarjun Mansur (1980s)—