Alhaiya Bilawal is a popular compound raga blending Alhaiya and Bilawal. Due to its distinct features and pleasing melodic persona, this raga stands on its own since 16th century; ever since Nayak Bakshu composed songs in this raga. Earlier it was invented along the melodic frame of raga Sarparda by the Qawwal disciples of Amir Khusrau (13th century).
Thhaat (parent scale)
Bilawal
Jaati:
Shaadav– Vakra Sampoorn (6-notes in ascent-meandering heptatonic in descent)
Vaadi:
Dhaivat (D)
Samvaadi:
Gandhaar (G)
Swaras:
All shuddh swaras along with sparsely touched Komal Nishaad (n)
Aaroh (ascent):
S R G P, N D N S’ (Western Notes: C D E G, B A B C )
Avaroh (descent)
S’ N D n D P, M G M R S (Western Notes: C B A B A# A G F E F D C)
Key phrases:
N. S, G R G P, n D P, G M R G P, N D N S’, S’ R’ N S’, D n D P, G M R, G P M G, M G M R S
Time:
Late morning
Alhaiya Bilawal is one of the most popular representatives of ragas belonging to Bilawal group. Ironically both, Shuddh Alhaiya and Shuddh Bilawal are rarely heard now. According to some pundits, Bilawal and Alhaiya Bilawal are the same while others hold that Bilawal sports only shuddh swaras while Alhaiya Bilawal also implies Komal Nishaad and its chalan (gait) is different from that of Bilawal. The raga’s shuddh swaras, along with Komal Nishaad, churn out devotional fervor very easily.
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
Ashwini Bhide-Deshpande performing Raag Alhaiya Bilawal with Subhankar Banerjee (tabla) and Jyoti Goho (harmonium) at Darbar Festival 2009.
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