A very famous variety of Todi, this raga is named after Bilas Khan, one of the four sons of Tansen – the legendary court musician of Mughal Emperor Akbar (16th century).
Thhaat (parent scale)
Bhairavi
Jaati:
Sampoorna (heptatonic)
Vaadi:
Komal dhaivat (d)
Samvaadi:
Komal gandhar (g)
Swaras:
Komal Rishabh, Gandhaar, Dhaivat and nishaad, rest Shuddh swaras
Aaroh (ascent):
S r g r, M g, P, d n d S’ (Western Notes: C C# D# C# F D#, G G# A# G# C)
Avaroh (descent)
r’ n d P, d M g r, g r S (Western Notes: C# A# G# G, G# F#, D# C#, D# C# C)
Key phrases:
S r n.S r g, M g, r S; r n. d.- S r g, M g r g P, d M g r, g P d n d M, g P d S’, r’g’ r’S’, r’n d P, d M g r, g r S
Time:
Late Morning
Legends have it that after the death of his legendary father, a grief stricken Bilas Khan sang this melancholic melody which begins like Todi, sports Bhairavis notes but moves like Asavari. As such, the chalan or gait of this raga is vakra (complex). Proper emphasis on Pancham, Komal Dhaivat and Gandhaar is important to keep it at a safe distance from Komal Rishabh Asavari.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
3. The Raga-ness of the Ragas by Deepak Raja
4. Ustad Amir Khan, Pioneer of Indore Gharana by Pandit Tejpal Singh
Links
1. Ustad Bahauddin Dagar (rudra veena)
2. Koyel Dasgupta Naha (vocal)
3. Ustad Amir Khan (vocal)
4. Ustad Vilayat Khan (sitar)
5. Pandit Nikhil Banerjee (sitar)
Abhishek Lahiri performs Raag Bhilaskani Todi on the sarod, recorded by Darbar on location in Singur, West Bengal.
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