Raag Dhurpat Nut Bilawali & Maloha-Indian Music theory
Raag Dhurpat Nut Bilawali originates from Bilawal thaat. Ma is the wadi note of this raag.
In purwang it resembles raag nut and a bit of raag gond.
In Amrohi it resembles Bilawal. It is very important to keep on stressing on Ma, because it resembles Bilawal therefore it becomes important to keep on revealing Ma over and over again.
The harmony of Re and Dha leaves pleasant music effect to the listeners.
Time to sing raag dhurpat nut bilawal is first part of the noon.
Arohi of this raag is as follows:
sa-sa-ga-ma-ga-ma-pa-ma-dha-ne-high octave sa
high octave Sa-Ne-dha-ne-pa-ma-ga-ma-re-sa
Chaal of Nut Bilawali:
Raag maloha is the khado-Sampuran raag of Bilawal thaat. In Arohi of this raag dha is not allowed whereas the Amrohi of this raag is sumpuran in fact this raag has been made with the combination of raag Kamod and raag Kidara. The time to sing this raag is the first part of the night. It has been mentioned in the previous articles that stress remains on Sa-Ma- and Pa in Kidara but in Maloha not much stress is given to these notes.
when it is sung in middle octave with fast rhythm it feels great to the listeners.
In this raag sa is wadi note and pa is sumwadi note. If this raag is sung with the harmony of Ne and Sa it separates this raag from Kidara.
(low octave ma-pa-ne)
(high octave pa-ne-sa)
(high octave sa)-ne-dha-pa-ma-ga-ma-re-sa
Chaal of Maloha:
Sa-(low octave ne-dha-pa-ma) – pa- (low octave ne)-sa-sa-re-(low octave ne)-(high octave sa)-(low octave pa-ne)-sa-ga-ma-re-sa-ga-ma-pa-ma-ga-ma-re-sa-re-ne-sa-ga-ma-dha-pa-ga-ma-re-re-sa