Raga Shukla Bilawal - Alapana and Pallavi

Posted on 31 January, 2021 • 5 min read

In this session, I present Raga Shukla Bilawal on Chandraveena. Shukla Bilawal is a morning Raga and belongs to the Bilawal family of Ragas. This is what is called a Bhashanga Raga - one which uses a note from outside the main Raga family. The beauty of this Raga lies in the vakra (zig-zag) use of the “outside” note, namely, Komal Nishad. Here, I explore the Raga extensively in Alap, Jod and Jhala, and conclude with a Pallavi in Chautala (12 beats). I am privileged to be accompanied by Pandit Sanjay Agle for the Pallavi session.

Pandit Sanjay Agle is a master Pakhawaj player coming from a family and tradition of Pakhawaj players. His grandfather Ambadas Agle was a legendary pakhawaj player. Sanjay Agle learnt from his father Kalidas Agle, and another renowned pakhawaj player Swami Pagaldas. His sister Chitrangana is also a very well known Pakhawaj player.

Pallavi also known as Bandish, Gat, Kriti or composition is a melodic line (or lines) bound by a Tala or rhythmic cycle. In some cases, lyrics are set to a melody in the chosen Raga and Tala, whereas in other cases it is just a melodic line with no lyrical or literary meaning, called Swarajati or Gat. Many instrumental compositions use the latter format, to make the most of “playing with the rhythm”.

In this particular composition, the Pallavi takes off on the 7th beat (making the 7th beat the Uthao or Eduppu) and ends on the 1st beat of the next cycle (the Sama). Try to follow the composition with this in mind and observe how melodic phrases are created approaching the Sama. While most of the melodic patterns are off-beat, yet the final phrase comes on the Sama with a subtle intonation. This can be quite challenging for the both the artists (the melodic artist and the percussionist), since even small errors on their parts could result in getting out of sync at the Sama.

In my view, a Tala is not about the beats or the accents or the avartan (the repeating cycle of the Tala), but it is about the space and the timing between the beats. What kind of melodic ideas can I weave in the given space? Do I need to conclude or emphasize Sama every avartan? Not necessarily. Once the melody and the rhythm has been established, I am free to explore any melodic ideas which fit within the rhythmic framework. Do I need to always end with a Tihai (a 3 times repetition of a phrase)? Again, not necessarily. That is just mathematics. If it comes along the way of weaving my ideas, I could use it, but it is not a necessity. One can reach Sama in a very inconspicous way, and still sound beautiful. Aesthetics and my expression should take precedence, always!

Follow along and enjoy the music!

Program Notes

Raga Alapana in Raga Shukla Bilawal

Raga Alapana is an improvisation and a systematic presentation of a Raga. This part has no rhythmic accompaniment. It has three parts - Alap, Jod and Jhala. This format is also known as Ragam and Tanam.

Here are some notes about the Raga.

Raga - Shukla Bilawal

Scale - Sa Re Ga ma Pa Dha ni Ni

Family - Bilawal

Melakarta - Bhashanga Janya Raga of 29th Melakarta Raga Shankarabharanam (Sa Re ga ma Pa Dha Ni), Bhashanga note - komal ni

Prahar - 1st and 2nd prahar (equivalent to 6AM - 12 PM)

Reading the scale

In Indian Classical Music, the seven notes in an octave are called Sa Re Ga Ma Pa Dha Ni and then Sa comes again. Notes with a capitalised first letter are called Tivra (or sharp) notes. E.g., Dha and Ni above. Notes written fully in lower case are called Komal (or flat) notes. E.g., ni and ma above. Sa and Pa are always written with a capitalized first letter.

Bhashanga Janya Raga

A Janya (or derivative) Raga of a Melakarta which uses a note outside of the Melakarta notes. In this raga, ni is outside of Shankarabharanam (Sa Re ga ma Pa Dha Ni).

Prahar

In Indian Classical Music, Ragas are classified into Prahars (time periods of a day or night) which are said to represent the most appropriate time to perform the Raga.

About the Tala

Chautala has 12 beats split as 4 + 4 + 2 + 2 denoted by solfas or syllables representing various rhythmic patterns. The basic solfas of Chautala are given below.

Tala - Chautala

Beats - 12 (4+4+2+2)

Solfas - Dha Dha Dhin Ta | KiTa Dha Dhin Ta | ThiTa KatTa | GaDhi GaNa |