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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Aimani Bilawal Indian Ragas or raags-Indian Music Theory



Aimani Bilawal Indian Ragas or raags-Indian Music Theory

Aimani Bilawal is the sampuran raag of Kalyan Thaat. This is also a kind of Bilawal but the shade of Bilawal is very distinct in this raag.

raga sawani indian music theory

Both Ma notes (F and F sharp) are allowed in this raag. The time to sing Aemani Bilawal is early morning.

Sa is wadi whereas pa is sumwadi in Aemani Bilawal. While playing Arohi F sharp note or ma (komal) is used and that makes it distinct to show the color of Aiman.

the students must remember that in Bilawal Ne is vikar note which means Ne is not played in sequence. But in Aimani Bilawal Ne is not vikar but played in sequence.

Infact this Raagni is the combination of Raag Aiman and Raag Bilawal.

The Arohi and Amrohi of this Raagani is mentioned below:-

Arohi:

SA-RE-GA-MA-GA-MA-PA-DHA-NE-DHA-SA

Amrohi:

SA-NE-DHA-PA-MA-GA-MA-RE-SA

Taan is as under:-

SA-RE-GA, RE-SA,NE-SA,PA-DHA-NE-DA-GA-RE, GA-MA-PA, MA-GA-MA, RE-SA

Sawani Kalyan (raga sawani):

Sawani Kalyan is the khado (six notes) raag of Kalyan thaat. The ma (F) note is virgit (not allowed) neither in Arohi nor in Amrohi. Note Ne (B) is durbal (weak) in Arohi.

Sa is the wadi note whereas Pa is Samwadi note in this Raag. This is the most modern kind of Kalyan and it has been invented by the famous Muslim Ustads (teachers).

This raag becomes prominent in middle octave. Students must remember that Sawani Kalyan is sung on lower and middle octaves.

This raag is also accompanied by fast rhythm which separates from Aiman Kalyan and Bhopali. Arohi is below:-

Arohi:

SA-NE-DHA-NE-DHA-PA, SA-RE-SA-GA-PA-DHA-SA.

Amrohi:

SA-NE-DHA-NE-DHA-PA-GA-RE-SA-DHA

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Formation of Thaats-Indian Music Theory



Formation of Thaats-Indian Music Theory:

different thaats have been explained below-music formats

thaat-music-kalyan-bilawal

We will describe how the thaats formation is made. First of all we will describe
the formation of first thaat, that is “Shuud Thaat”. Well! this is perhaps the most simple formation, the notes used in this thaat are all white keys are used in this thaat, that is (C-E-E-F-G-A-B) or in indian music (Saa- Raay-Gaa-Maa-Paa-Dhaa-Nee)
Now -a-days it is called “Balawal Thaat”. In no other formation all white keys will be used, it is also known as “Kharaag Garaam” because we started from note “C” and this note is called Kharraj in Indian music. If we play the Arohi Amrohi of this thaat, it will be C-D-E-F-G-A-B in either direction.
Now let us start our octave from “D” rather than “C”, so if you play the full seven notes our “D” note will play on “E” note of our first formation that has been described earlier. As a result two notes will change from white to black notes, that is “E” and “B” notes will become black, to play the exact tone of (Do-Re-He-Fa-So-La-Te-De).
This thaat will be called “Kaafi Thaat” in Indian music.
Now let us move to our third formation. Now start your “C” note from “E” note and play all seven notes, as a result all notes will become black notes, it is also called “Bharween Thaat”.

Now our fourth formation will start from “F” note that means considering “F” note as our “C” note we will play all seven notes and it will become “Kalyaan Thaat”.

Now repeating the drill and making “G” as our “C” note and playing all seven notes from there, it will be called “Khamaach Thaat” In our next exercise we will make “A” as our “C” note and similarly play seven notes so as a result we will get “Asawari Thaat”. Now exercise will start from “B” note considering as “C” note and this will be our last last Thaat known as “Todi Thaat”.