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

Raag Maand in Indian Music Theory

Raag Shukla Bilawal 2

Raag Nut bhairav-Indian Music Theory

Raag Nut bhairav-Indian Music Theory

Raag Nut bhairav indian music theory

Raag Nut is the Khado – Awodo Raag of Bilawal Thaat. Ma is the wadi Sur (note) in this Raag and Ma is the note on which the composition in this Raag must finish.

According to some Pandits this is the raag of bhairav which means in this raag of bhairav which means in this raag the songs related to bravery and courage are composed.

Amrohi is played without Dha and Ga whereas all the notes are used in Arohi.

The time to sing this raag is the second part of the night. Some Garanth also describe that Ga must be komal (Black note) in this raag but this is against the customs of music being followed now-a-days.

Some pandits say this raag is a mixture of Chaya and Aliyan.

This is to be noted that stress remains on poorwang in this raag.

In Amrohi Dha and Ga are not allowed therefore it can not be raag bilawal. Because Ma is the wadi note in this raag therefore it separates itself from chaya and Kamode. It also separates itself from shaan kalyan because Sa is wadi sur in Shaan kalyan. Whereas Ma is wadi sur of this raag.

The Chaal of Nut is as follows:-



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

Pa-dha (low octave)-sa (high octave)-ne-(high octave sa-re-sa-sa-re-ga-ma-re-re-sa-sa)-ne-dha-ne-pa-ma-pa-ma-ga-ma-sa (high octave)-dha-ne-pa-ga-ma-pa-sa-re-sa.

This raag is very unique. Melody and composition in this raag are easy to perform.

Related Raag posts

Raag Dev Gadi in terms of Indian Music Theory

Raag Maand in Indian Music Theory

Raag Pahadi amrohi arohi in terms of Indian Music

Raag Deshkar-Indian Classical Music Theory

Raag Pahadi amrohi arohi in terms of Indian Music

Raag Pahadi amrohi arohi in terms of Indian Music

Raag Pahadi:

Raag Pahadi is one of the most popular raag in Indian music. Many famous compositions
have been made in Raag Pahadi. It is easy to sing even for a person with little knowledge of music.

raag pahadi indian music theory

Raag Pahadi is the raag of Bilawal thaat. This is the Awodo Raag (5 notes) Ma and Ne are not allowed in this raag.

The main quality of this raag is that it can be sugn anytime.

The lower octave and middle octave notes of this raag when played with fast rhythm, leave amazing musical magic in the mind of the listeners and their
heart beats become faster.

Sa is wadi whereas pa is sumwadi in this raag.

Dha leaves special effect when played in the lower octave. Raag Pahadi also resembles Bhopali at some stage, therefore the experienced performers slightly use Ma so that it’s structure may not sound like Bhopali. In Garanth one pahadi raag has been described in Bahroon thaat but that is not in use now-a-days and is almost a forgotten raag in Bahroon thaat. Notes can freely be used in pahadi raag therefore no special Chaal is being mentioned.


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


sa (high octave)-dha-pa-ga-re-sa-dha (low octave)

Relevant Raag article:

Raag Deshkar-Indian Classical Music Theory