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