Raag Hans Dhuni-Indian Music Theory

Raag Hans Dhuni-Indian music theory

Raag hans dhuni is the Awodo Raag of Bilawal thaat. Ma and Dha are not allowed in this raag.

raag hans dhuni indian music theory

Some pandits believe that it’s wadi note is Sa whereas some believe that Ga should be the wadi note of this raag.

Time to sing this raag is the first part of night. Nothing much has been written about this raag in Music Theory Books but this raag is still sung in Dhakan and Even today the Madrasi community sings this raag.

Arohi of raag Hans Dhun

Sa-re-ga-pa-ne-high octave sa


high octave sa-ne-pa-ga-re-sa

Chaal of raag hans Dhun:

sa-re-ga-sa-ga-pa-ga-re-ga-pa-ga-re-ga-pa-nepa-ga-pa-ga-re-ne (low octave)


ga-pa-ne-pa-ne-ne-high octave sa re sa-ne-high octave re sa- ne-pa-ne-pa-ga-re-ga-re-ne-pa-ga-re-high octave sa

pa-ne-pa-ga-pa-ne-high octave sa-re-high octave ga re sa -ne-high octave re sa -ne-pa-ne-pa-ga-re-ga-re-ne-pa-ga-re-high octave sa

pa-ne-pa-ga-pa-ne-high octave sa-re-ga-high octave re sa-ne-pa-ne-
high octave re sa-ne-ga-re-pa-ne-ne-high octave ga re-ne-high octave re sa sa re sa-re-high octave ga re sa-ne-pa-ne-high octave re-sa-ne

high octave sa sa re sa-ne-pa-ne-high octave sa-ne-pa-ga-pa-ga-re-pa-pa-sa-re-ga-re-ga-sa

low octave ne-re-ga-pa-ne-high octave re sa sa -ne-pa-ga-pa-ne-high octave re sa -ne-pa-ga-pa-ga-re-ne

Compositions in this raag are unique and different from other famous raags. In my opinion the music composers must use this raag very often to make it more popular and acquainted among the music lovers all around the world. I am sure the readers of this article ‘Raag Hans Dhuni” and the previous ones will be getting benefited.

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Raag Dhurpat Nut Bilawali-Indian Music theory

Raag Dhurpat Nut Bilawali & Maloha-Indian Music theory

raag maloha

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:


indian music theory raga nut bilawali



Raag Maloha:

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

Relevant Indian Raag posts

Raag Shukla Bilawal-Indian Music Theory

Raag Nut bhairav-Indian Music Theory

indian music theory raga

Raag Shukla Bilawal-Indian Music Theory

Raag Shukla Bilawal-Indian Music Theory:

raag shukla bilawal indian music theory

Raag Shukla Bilawal is the sumpuran raag of bilawal thaat, this is also known as one of the kinds of raag Bilawal.

Time to sing this raag is in the morning. In this raag wadi sur (note) is Ma and Sumwadi note is Sa.

In Arohi of this raag, Re is weak or we can say it is less used. Because this is the raag of utarwang therefore Amrohi notes provide more soothing musical effects to the ears of the listeners. The harmony of Dha and Ma feels great. So we can say special Taan is originated by the combination of these two notes.

The style of this raag is vikar which means it is not played in sequence therefore at certain point it resembles Gorsarang. Some performers also use komal (flat B) Ne which looks marvellous. Remember this note is to be used as Dev Gadi i.e. note is not allowed in the raag.

Raag Shukla Bilawa 3

Arohi of Shukla Bilawal:

Sa-ga-ma-ma-pa-pa-dha-pa-dha-ne-sa (high octave)

Amrohi of Shukla Bilawal:

Sa (high octave)-ne-dha-pa-dha-ne-dha-pa-ma-ga-re-ma-re-sa (high octave)

Chaal of Shukla Bilawal:


Ne (low octave)-sa-ga-ma-re-pa-dha-ma-ma-pa-Dha (high octave)-ne-dha-pa-ma-ma-re-pa-dha-ma-ga-re-sa

sa-ga-ma-pa-ne-(high octave) sa-re-sa-sa,

Ma-ga-ma-ne-dha-pa-ma-pa-ma-ma-ga-re-sa-ga-re-sa-ga-ma-ma-ga-ma-pa-ne-high octave sa-re-sa, ne-dha-pa-ma-ma-pa-ga-re-ga-ma-pa-dha-ne-dha-pa-dha-ma-ma-ga-re-pa-re-ga-re-sa

Relevant Raag Posts:

Raag Nut bhairav-Indian Music Theory

Raag Dev Gadi in terms of Indian Music Theory

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Raag Shukla Bilawal 2

Raag Dev Gadi in terms of Indian Music Theory

Raag Dev Gadi in terms of Indian Music Theory

raag dev gadi indian music theory

Raag Dev Gadi is the Awodo – Sampuran Raag of Bilawal thaat. This can also be called a type of bilawal raag but it seems to have the style of Kalyan.

Wadi note in Dev Gadi is Sa and Samwadi is Pa. According to one school of thought Dha and Ga are not used in Amrohi. Some times the experienced performers also use black Ma or F sharp notes. There is one quality in Bilawal thaat raags that is Amrohi the shade of Bilawal is always prominent but if black Ma is used frequently in this raag, it becomes Aemni Bilawal.

In Raag Dev Gadi, black ne (komal) is used alongwith Dha then no doubt remains in the construction of Bilawal.

The experienced performer know the secret that the raag that are sung in the night have stress on Arohi whereas the raags that are performed in the day time have stress on the Amrohi notes. So we can say that in the first part of the night the stress is on purwang whereas stress shifts over to utarwang notes when Dawn is near or when morning is approaching.

Relevant posts

Raag Maand in Indian Music Theory

Raag Pahadi amrohi arohi in terms of Indian Music

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Raag Sankra Bharan

Essential elements of Indian music theory

Raag Sankra Bharan indian music theory

Raag Sankra Bharan is the raag of Bilawal Thaat. According to one school of thought it is the Khado (six notes) Raag where Ma is virgit that means Ma is not allowed in this Raag. Some people believe that it is an Awodo Raag (five notes) and Re and Ma are not allowed.

time to sing this raag is Afternoon and early evening. This raag resembles with Raag Bahag.

Some people believe Ga is the wadi note of this raag whereas some are of the opinion that Sa is the the wadi note of this raag. In this raag the utarwang notes look fabulous when played, therefore some believe it’s time to sing is morning.

Now-a-days it is not in practice, if you sing this raag on the pattern of Awodo (5 notes) then it will resemble Malsiri but remember Dha is not played in Malsiri but in Sankra Bharan Dha is imminently used thus to separate it from the above mentioned Raag Malsiri.

Arohi of Raag Sankra Bharan:




Chaal of Sankara Bharan:



sa,ga,pa-ga,sa-ga-pa-sa,ne-pa, ne-ne-ga-pa-ne-dha-pa-sa-ne-dha-pa-ga-pa-ga-sa-pa-pa-sa-sa-ga-pa-ga-sa-sa-ne-pa-ne-dha-sa-ga-ga-ne-ne-dha-pa-ga-pa-ga-sa.

This raag is easy to learn as all the white notes are being used in its formation. Therefore with little effort the students can know the melody of this raag. The composition of this raag is easy to perform.

Useful Relevant posts:

Raag Bilawal Thaat and notes-Indian Music Theory

Raag Jeet Kalyan & Chander Kanth-Indian Music Theory

Raag Bilawal Thaat and notes-Indian Music Theory

Raag Bilawal Thaat and notes-Indian Music Theory


The second name of Bilawal thaat is shankra Bharan and Raag Bilawal evolves from this thaat. According to one school of thought ‘Sa’ is the wadi note of Raag Bilawal and according to second school of thought Dha is the wadi note. However these both theories are considered to be appropriate.

Raag Bilawal is Sampuran Raag, in it’s Arohi Ma must not be used frequently but with less stress. This is the warwang raag (which means stress remains on second part of octave). The time to sing this raag is morning therefore it is also called Subha Ka Kalyan (Kalyan of morning). In Bilawal note Ga is weak and this factor isolates it from kalyan. The main difference between these two Raags is that of Ma.

bilawal thaat

In this Raag the sangat or the harmony of Dha and Ma looks marvelous in combination. Usually in raag bilawal ma is played as vikar note (note played in sequence).

This is a warwang raag therefore the complete picture reveals in the second part of octave. There are many kinds of Bilawal but we would mention here the prevailing kind and style of bilawal.





The chaal of sud Bilawal is as under:-

Sa-Re-Sa, Ga-Ma-Ga-Re-Sa, Ne-Dha-Ne-Dha-Sa, Sa-Re-Ga, Pa-Dha-Pa-Ma-Ga-Re, Ga-Ma-Ga-Re-Sa.

Sa-Re-Ga-Ma-Pa, Ga-Ma-Re-Ga-Pa, Dha-Dha-Ga-Ma, Dha-Pa-Ga-Ma, Ma-Re, Ga-Ma-Pa, Ne -Ga-Re-Sa

Ne-Ne-Dha-Pa-Dha-Pa, Ne-Dha-Pa,Dha-Ma-Ga-Ma-Pa-Ma-Ga-Ma-Re-Sa-Ga-Ma-Pa-Ma-Ga-Re-Sa.

This raag is very light and can easily be learnt if the students pay attention to the chaal mentioned above.

Raag Jeet Kalyan & Chander Kanth-Indian Music Theory

Aimani Bilawal Indian Ragas or raags-Indian Music Theory

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Arohi-Amrohi-Indian Music Theory

Arohi-Amrohi-Indian Music Theory


The people who want to learn about Indian music theory, must know the meaning of Aarohi and Amrohi. It has been described below:


Normally no song or melody goes beyond three octaves (Sabtak). The Octave is called “Sabtak”. in Indian Music. Now three Octaves are, Lower octave, Middle octave and the High Octave.
As you know one octave consists of seven notes (C-D-E-F-G-A-B) so arohi means to play from middle towards the high octave i.e. to play CDEFGAB.

Amrohi means to play in the reverse order. From high towards low octave. So this means, In Arohi we move upwards whereas in Amrohi we move downwards.
In present day Indian music, the composition of melodies depend on Arohi and Amrohi.

It must be understood that Arohi and Amrohi are different for Raag (we will describe it later), whereas it is different for (Taan) we will know about Taan later on too, at present we are only learning about Arohi and Amrohi.

It is important that while playing any Raag the person has to follow the principle to move up in sequence and similarly play downwards in sequence too as mentioned earlier but there are two form of Raags. One is in which all seven notes are used while in the other some notes are skipped over to left.

First form is called (Shuud) in music language which means in sequence whereas the name of other form is (Vikar) which means not in sequence but in skipped over manner.

In “Taan” the singer only shows the formation of notes in different manner on which the “Raag” is based. The expert or experienced, classical or semi classical Indian singers can perform many beautiful formations of “Taan” of the Raag in all three octaves i.e. base, middle and high. Now I will describe something extremely important as under:
Shuud Thaat

The Indian music theory is purely based on “Thaat”. All the “Raag” evolve from Thaats, that means the entire music theory is based on Thaats. In fact thaat provides the base to know about the notes to be used in specific Raag. We will describe all the Thaats one by one so that the students may know and grasp deeper knowledge.