Alhaiyā Bilāwal

Aesthetic and Structural Analysis of a Vakra Shuddha Rāga

(An In-depth Study with Chalan, Paltas, and Expression Techniques)

Rajendra Parekh Kalanidhi

From Courtly Tradition to Classroom Practice: Rāga-Lakṣaṇa, Gamaka, and Vakratā in Alhaiyā Bilāwal

Rāga: Alhaiyā Bilāwal

Thāt: Bilāwal

Time of Performance: Morning (First prahar)

Jaati: Sampūrṇa–Sampūrṇa

Rāga Type: Shuddha-swar-based, with optional vivādi komal Ni

Style: Uplifting, devotional, courtly

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1. Aroha / Avaroha (with stylistic variants)

Aroha (आरोह):

1. S R G R G P D N D Ṡ

2. S R G P D Ṇ Ṡ (simplified version)

3. S M G R G P D Ṡ (alternate vakra variation with Ma)

Avaroha (अवरोह):

1. Ṡ N D P D N D P M G M R S

2. Ṡ N D P M G R S (simple descent)

3. Ṡ D Ṇ P M G M R G S (Bhatkhande-style)

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2. Vādī / Samvādī:

• Vādī: Dha

• Samvādī: Ga

Strong Dha–Ga emphasis; both used as nyās swaras (landing/resolution tones)

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3. Pakad (Characteristic Phrase):

• G R G P D Ṇ S

• D G R G P M G R S

• Ṇ D Ṇ D P M G M R

• G M R G M P M G Ṇ Ṡ

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4. Chalan (Flow of Movement):

• S R G P D Ṇ Ṡ

• Ṡ N D P D M G M R S

• D G R G P M G R S

• Ṇ S G M G R Ṇ D P

• G M G R G M D Ṇ S

• D Ṇ D P, D P G M G P M G Ṇ Ṡ

Smooth, vakra-oriented chalan with several sanchari ideas (melodic sidetracks)

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5. Ang (Style / Flavor):

• Linear in āroha, but vakra in avaroha

• Moderate use of kan swaras (especially Ni to Dha)

• Gamakas generally restrained

• Touches of shringar and bhakti rasa

• Frequently used in Thumri, Bandish, Khyal vilambit formats

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6. Expression Techniques:

Kan (Grace Notes):

• Ni → Dha → P

• G → M in descent

• D → G (in vakra phrasing)

Meend (Glide):

• P M G

• Ṡ D Ṇ

Andolan (Slow Oscillation):

• On Dha (vādī)

• On Ga (samvādī)

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7. Rasa (Emotional Essence):

• Śānta (Peaceful)

• Bhakti (Devotional)

• Śṛṅgāra (Delicate Romanticism)

Ideal for early morning mood. Smooth, elegant, and refined – neither overly melancholic nor overly exuberant.

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8. Historical and Cultural Commentary:

• Name Origin: Possibly from “Alhaiyā” or “Alaiyā”, attributed to Amir Khusrau’s disciples composing on rāga Sarparda in honor of their teacher, Ala-ud-din Rahmat.

• Medieval Usage: Also mentioned in works by Nayak Bakshu during the 16th century under Raja Man Singh Tomar (Gwalior)

• 20th Century Practice: V.N. Bhatkhande considered this rāga as the primary “Bilāwal” of his era

• Modern Use: Preferred in classical khyal and light classical (especially bhajan, thumri)

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9. Comparison with Śuddha Bilāwal:

• Both use all shuddha swaras

• Alhaiyā Bilāwal has:

• Vakra Ma

• Optional komal Ni (as vivādi or kan)

• Nyās and nyās-oriented movements on Ga, Dha

• Greater use of ornamentation and zigzag flow

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10. Bandish Examples (Compositions):

• Vilambit: “Dājī khāṭ gayē log” – Teentāl

• Madhyalaya: “Kavanā bāriyā gailo” – Teentāl

• Other themes: Bhajans, Hori, spring ritu-based compositions

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11. Performance Observations:

• Requires clarity in swara touch (particularly with kan from Ni)

• Use and omission of komal Ni must be contextual and not overused

• Smooth transitions and well-placed nyās swaras bring beauty

• Works beautifully with tanpura drone and madhyam tuning

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12. Parallel Systems Mapping:

Western Equivalent:

• C Ionian (Major Scale): C D E F G A B C

• Difference: Alhaiyā Bilāwal may include B♭ (komal Ni) in descent

Carnatic Equivalent:

• Closest: Rāga Gaula (Janya of Melakarta 29 – Dheerashankarabharanam)

• Mood: Devotional, early morning raga

• Style: Gaula uses kampita gamakas, vakra movement, same shuddha swaras

1. #ABilāwal – Short for Alhaiyā Bilāwal, a vakra rāga of the Bilāwal thāt

2. #VakraRāga – A rāga with zigzag, non-linear swara movement

3. #RāgaChitra – Rāga illustrated as an image or infographic

4. #MorningRāga – Rāga suited for early morning (1st prahar) performance

5. #RāgaLakṣaṇa – The structural and defining traits of a rāga

6. #ChalanFlow – The characteristic melodic movement or phrases

7. #ArohaAvroha – Ascending and descending scale of a rāga

8. #RasaMap – Mapping the emotional flavors (rasa) evoked by the rāga

9. #ShuddhaStyle – Refers to pure (natural) swaras used in the rāga

10. #Vakratā – Zigzag swara motion, a stylistic hallmark

11. #SwarSculpt – Artistic shaping of notes with ornamentation

12. #NyāsPower – Emphasis on resting/landing notes (nyās swaras)

13. #DhaGaAxis – Vādī-samvādī pair defining melodic balance (Dha–Ga)

14. #KanTouch – Grace note embellishments in swara transitions

15. #MeendMagic – Gliding transitions between swaras

16. #AndolanSway – Gentle oscillation of notes (esp. Ga, Dha)

17. #ThumriVibe – Light classical feel, often devotional or romantic

18. #ŚṛṅgāraMood – Romantic essence associated with this rāga

19. #BhaktiRāga – Devotional energy evoked by the melody

20. #ŚāntaTone – Peaceful and contemplative mood

21. #SanchāriPlay – Melodic sidetracks within the rāga framework

22. #GamakaArt – Ornaments and expressive note techniques

23. #ClassicalCanvas – The use of rāga as a visual artistic metaphor

24. #HindustaniCore – Refers to foundational elements of North Indian music

25. #BandishCode – Composition-based identity of a rāga

26. #NādaYoga – Sonic/spiritual connection via pure sound

27. #TanpuraSoul – The harmonic drone enhancing rāga mood

28. #RaagIdentity – What gives a rāga its unique musical DNA

29. #VisualRāga – Turning music into imagery and visual learning

30. #VakraBeauty – The beauty in non-linear melodic movement