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

Amrohi:

high octave Sa-Ne-dha-ne-pa-ma-ga-ma-re-sa

Chaal of Nut Bilawali:

sa-ga-ga-ma-pama-ma-pa-pa-ma-ga-ga-ma-pa-pa-dha-pa-ma-ga-ma-re-sa.

indian music theory raga nut bilawali

sa-ga-ga-ma-ma-ma-pa-pa-ma-ga-ma-re-ma-ma-pa-ne-dha-pa-ma-ga-ma-re-pa-pa-ma-ga-re-sa

sa-ga-ga-ga-ma-pa-dha-pa-ma-ga-ma-re-sa-ga-ma-ne-dha-pa-ma-ga-ma-ga-ma-re-ga-ma-dha-ne-dha-pa-ne-dha-pa-ma-ga-ma-re-ga-ma-pa-ma-ga-re-sa

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.

Arohi:

(low octave ma-pa-ne)

sa-re-sa-ga-ma

(high octave pa-ne-sa)

Amrohi:

(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

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Raag Bilawal Thaat and notes-Indian Music Theory

Raag Bilawal Thaat and notes-Indian Music Theory

indian-music-theory-bilawal-raag-notes

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.

Arohi:

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

Amrohi:

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

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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Thaat Music to explain Indian Music Theory

Thaat Music to explain Indian Music Theory:

thaat-music-kalyan-bilawal1

Comprehensive description of thaats:

First the names of all thaats have been mentioned here for the memory of students.

  1. Kalyan Thaat
  2. Bilawal Thaat
  3. Khamach Thaat
  4. Behroon Thaat
  5. Bharween Thaat
  6. Asawari Thaat
  7. Todi Thaat
  8. Purvi Thaat
  9. Marwa Thaat
  10. Kafi Thaat

Now we shall grasp the knowledge of Raags and Raagnis the are formed in different Thaats.

Kalyan Thaat:

The following are in Kalyan Thaat

  1. Aeman
  2. Sud Kalyan
  3. Bhoop Kalyan or Bhoopali
  4. Hameer
  5. Kedara
  6. Chayanet
  7. Kamod
  8. Sham Kalyan
  9. Handole
  10. Gord Sarang
  11. Malsiri
  12. Aemni Bilawal
  13. Chardor Kant
  14. Sawani Kalyan
  15. Jeet Kalyan

Bilawal Thaat:

  1. Bilawal
  2. Bhaag
  3. Bhagra
  4. Deskar
  5. Pahari
  6. Kabka
  7. Shankara
  8. Nutt
  9. Maand
  10. Sarparda
  11. Aliya
  12. Gunkali
  13. Sikal
  14. Nutt Bilawali
  15. Hans Dhan
  16. Lachasak
  17. Haime
  18. Durga
  19. Norochaka
  20. Malohe Kedara
  21. Devgari
  22. Jaldhar Kedara
  23. Pat Maujri

Khamag Thaat:

  1. Khamag
  2. Jhanjoti
  3. Surath
  4. Dais
  5. Kambwati
  6. Talang
  7. Durga
  8. Rageshri
  9. Jajewanti
  10. Gordmala
  11. Natt Malar
  12. Tilak Kamod
  13. Budhause
  14. Ghera
  15. Naraiyni
  16. Partaab
  17. Naag Surawali

Bahroon Thaat:

  1. Bahroon
  2. Kangara
  3. Maig Rangni
  4. Surashister
  5. Jogia
  6. RamKali
  7. Parbhat
  8. Bhaas
  9. Gori Lalat Pancham
  10. Sawayri
  11. Bangal Bahroon
  12. Shelumat Bahroon
  13. Anand Bahroon
  14. Gun kali
  15. Aheer bahroon
  16. Zailef
  17. Des Gonda

Baharween Thaat:

  1. Baharween
  2. Malkonce
  3. Asawari
  4. Dhanasiri
  5. Bhopaal
  6. Zangola
  7. Motaki
  8. Sud Sawand
  9. Basant Mukhari
  10. Balas Khan Todi