Raag Intro Series: Alhaiya Bilawal / Bilawal | Ramprapanna Bhattacharya

 Raag Alhaiya Bilawal / Bilawal

Swar: Madhyam is omitted in the ascent (Aaroh). Both forms of Nishad (Shuddha and Komal) are used, while the remaining swaras are Shuddha.
Jati: Shadhav – Sampurna
Thaat: Bilawal
Vadi – Samvadi: Dhaivat – Gandhar
Time: Early morning (1st Prahar, around 6 AM to 9 AM)

Vishranti Sthan (Resting Notes): Sa, Ga, Pa, upper Sa, Pa, Ga

Mukhya Ang (Key Phrases):
G R G P ; D n D P ; m G R ; G P D N S'

Aaroh – Avroh:
Aaroh: S R G P D N S'
Avroh: S' N D P D n D P m G R S

Raag Alhaiya Bilawal emerges from Raag Bilawal with the inclusion of Komal Nishad, giving it a soft, pleasing, and tranquil character. In some traditions, Raag Bilawal itself is referred to as Alhaiya Bilawal.

A distinctive feature of this raag is that Dhaivat, although the Vadi swar, is not typically used as a resting note. Instead, Pancham and Gandhar serve as the primary nyas swaras. The use of Komal Nishad is characteristic, especially when it appears between two Dhaivats, as in phrases like “S’ N D P ; D n D P.”

The interplay between Dhaivat and Gandhar is very important and is often expressed through smooth meend (glides). In the descent, phrases such as “S’ N D P ; D n D P” or the more direct “S’ N D P m G R S” are commonly used.

This is an Uttarang-pradhan raag, meaning it emphasizes the upper tetrachord, and it is best विकसित (expanded) in the middle and upper octaves. Certain note combinations form the essence of the raag and must be practiced carefully, such as:

S R G ; G m R G P ; P m G ; R G R S ;
G m R G P ; D G m G ; G P D m G ;
G P D N S’ ; S’ R’ S’ ; S’ N D P ;
D N S’ ; S’ N D P ; D n D P ; D G m G R S

These phrases together bring out the true identity and beauty of Raag Alhaiya Bilawal.