Bilaval has been the standard for North Indian music since the early 19th century. Its tonal relationships are comparable to the Western musicC major scale. Bilaval appears in the Ragamala as a ragini of Bhairav but today it is the head of the Bilaval thaat. The Ragamala names Bilaval as a Putra (son) of Bhairav but no relationship between these two ragas are made today. Bilaval is a morning raga that is intended to be sung with a feeling of deep devotion and repose and is often performed during the hot months.[citation needed] The Bilaval is equivalent to the Carnatic raga melakarta, Sankarabharanam, as well as the Western Ionian mode (major scale), and contains the notes S R G M P D N S'. The pitches of Bilaval thaat are all shuddha (natural). Flat (komal) or sharp (tivra) pitches always occur regarding the interval pattern in Bilaval thaat.
Bilaval raga is in the Sikh tradition of northern India and is part of the Sikh holy scripture Granth, the Sri Guru Granth Sahib.[2] Every raga has a set of strict rules that govern the number of notes that can be used, which notes can be used, and their interplay that must be adhered to for the composition of a tune. Bilaval is the thirty-fourth raga to appear in the series of sixty compositions in the Sri Guru Granth Sahib. The composition in this raga appears on 64 pages from page numbers 795 to 859.
^Delvoye, Françoise (2013). New Developments in Asian Studies. Routledge. p. 344. ISBN978-1-136-17470-4. from the original on 26 May 2021. Retrieved 11 March 2018.
^Singha, H.S. (2000). The Encyclopedia of Sikhism (over 1000 Entries). Hemkunt Publishers. p. 10. ISBN978-81-7010-301-1. Retrieved 26 May 2021.
Referencesedit
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors)The Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.
External linksedit
January 01, 1970
bilaval, thaat, same, name, thaat, bilawal, iast, bilāval, raga, basis, eponymous, thaat, musical, mode, hindustani, classical, music, raga, named, after, veraval, gujarat, thaattypesampurna, arohanasa, avarohanasa, sapakadga, saga, savadidhasamavadigasynonymb. For the Thaat of the same name see Bilaval thaat Bilaval or Bilawal IAST Bilaval is a raga and the basis for the eponymous thaat musical mode in Hindustani classical music Raga Bilaval is named after Veraval Gujarat 1 BilavalThaatBilavalTypeSampurna 7 by 7 ArohanaSa Re Ga ma Ga Pa Ni Dha Ni Sa AvarohanaSa Ni Dha Pa ma Ga ma Re SaPakadGa Re Ga Pa Dha Pa ma Ga ma Re SaGa Re Ga Pa Dha Ni Sa Sa Ni Dha Pa ma Ga Ma Re SaVadiDhaSamavadiGaSynonymBilawalEquivalentSankarabharanamIonian mode Bilaval has been the standard for North Indian music since the early 19th century Its tonal relationships are comparable to the Western music C major scale Bilaval appears in the Ragamala as a ragini of Bhairav but today it is the head of the Bilaval thaat The Ragamala names Bilaval as a Putra son of Bhairav but no relationship between these two ragas are made today Bilaval is a morning raga that is intended to be sung with a feeling of deep devotion and repose and is often performed during the hot months citation needed The Bilaval is equivalent to the Carnatic raga melakarta Sankarabharanam as well as the Western Ionian mode major scale and contains the notes S R G M P D N S The pitches of Bilaval thaat are all shuddha natural Flat komal or sharp tivra pitches always occur regarding the interval pattern in Bilaval thaat Bilaval raga is in the Sikh tradition of northern India and is part of the Sikh holy scripture Granth the Sri Guru Granth Sahib 2 Every raga has a set of strict rules that govern the number of notes that can be used which notes can be used and their interplay that must be adhered to for the composition of a tune Bilaval is the thirty fourth raga to appear in the series of sixty compositions in the Sri Guru Granth Sahib The composition in this raga appears on 64 pages from page numbers 795 to 859 Contents 1 Aroha and avaroha 2 Vadi and samavadi 3 Pakad or chalan 4 Samay time 5 Film songs in Tamil 6 Notes 7 References 8 External linksAroha and avaroha editArohana Arohi Sa Re Ga ma Pa Dha Ni Sa Avrohana Avarahi Sa Ni Dha Pa ma Ga Ma Re SaVadi and samavadi editVadi DhaSamavadi GaPakad or chalan editGa Re Ga Ma Dha Pa Ma Ga Ma Re Sa Ga Pa Ni Dha Ni Sa Ga Re Ga Pa Ni Dha Ni Sa Sa Ni Dha Pa Ga Ma Re Sa Ga Re Ga Pa Dha Ni Dha Ni SaSamay time editMorning First pahar of the day 4 7 AM Film songs in Tamil editSong Movie Composer Singer Chandrodhayam Idhile Kannagi S V Venkatraman P U Chinnappa Madi Meethu Annai Illam K V Mahadevan T M Soundararajan P Susheela Manam Padaithen Kandhan Karunai P Susheela Aththaan En Aththaan Paava Mannippu Viswanathan Ramamoorthy Kaadhellenum Vadivam Kanden Bhagyalakshmi Kaana Vandha Kaatchiyenna Enna Enna Vaarththaigalo Vennira Aadai Ore Raagam Ore Thaalam Manapanthal Kaatru Vandhal Kathiruntha Kangal P B Sreenivas P Susheela Kanpadume Pirar Kanpadume P B Sreenivas Paadadha Paatellam Veerathirumagan Maadi Mele Maadikati Kadhalikka Neramillai Enna Paarvai K J Yesudas P Susheela Kaadhalika Neramillai Sirkazhi Govindarajan Roja Malare Raajakumari Veerathirumagan P B Sreenivas P Susheela Poga Poga Theriyum Server Sundaram Andru Vandhadhum Periya Idathu Penn T M Soundararajan P Susheela Naan Maanthoppil Enga Veettu Pillai Aandavan Padachan Nichaya Thaamboolam T M Soundararajan Adho Andha Paravai Pola Aayirathil Oruvan Naan Kavignanum Ilai Padithal Mattum Podhuma Moondrezhuthil En Moochu Dheiva Thaai Kadhal Embadhu Paadha Kaanikkai P B Sreenivas P Susheela L R Eswari J P Chandrababu Epo Vechikalam Bandha Pasam J P Chandrababu Enna Paravai Sirakadithu Karthigai Deepam R Sudarsanam T M Soundararajan ver 1 P Susheela ver 2 Pudhu Naadagathil Ooty Varai Uravu M S Viswanathan T M Soundararajan Kettavarellam Paadalam Thangai Anubhavi Raja Anubhavi Anubavi Raja Anubavi P Susheela L R Eswari Maanendru Pennukoru P Susheela Naan Paadum Paatile Bhavani Love Birds Anbe Vaa Maharaja Oru Maharaani Iru Malargal T M Soundararajan Shoba Chandrasekhar Enni Irundhadhu Ragam Neelambari Touches Andha 7 Naatkal Malaysia Vasudevan Vani Jairam Vidiya Vidiya Solli Pokkiri Raja S P Balasubrahmanyam P Susheela Dil Dil Dil Manadhil Mella Thirandhathu Kadhavu Aadungal Paadungal Guru Ilaiyaraaja S P Balasubrahmanyam Pudhucheri Katcheri Singaravelan Thene Thenpaandi Udaya Geetham Nilaave Vaa Mouna Ragam Yerikkarai Poongaatre Nee Pora Vazhi Thooral Ninnu Pochchu K J Yesudas Thaalattudhe Vaanam Kadal Meengal P Jayachandran S Janaki Pudhu Maapilaiku Apoorva Sagodharargal S P Balasubrahmanyam S P Sailaja Aalapol Vellapol Ejamaan S P Balasubrahmanyam K S Chithra Paarthathenna Paarvai Naangal Indha Minminiku Sigappu Rojakkal Malaysia Vasudevan S Janaki Malaiyaala Karaiyoram Rajadhi Raja Mano Germaniyin Senthen Malare Ullasa Paravaigal S P Balasubrahmanyam S Janaki Anjali Anjali Anjali Anjali Sathya Karthik Raja Yuvan Shankar Raja Bhavatharini Venkat Prabhu Premji Amaran Parthi Bhaskar Hari Bhaskar Vaishnavi Thulli Ezhunthathu Geethanjali Ilaiyaraaja Kanmani Anbodu Kadhalan Gunaa Kamal Haasan S Janaki Kuzhaloodhum Kannanuku Mella Thirandhathu Kadhavu K S Chithra Dillu Baru Jaane Kalaignan Mano K S Chithra Nila Kaayum Neeram Chembaruthi Mano S Janaki Paattu Poove April Mayilae Idhayam Ilaiyaraaja Deepan Chakravarthy S N Surendar Naan Erikarai Chinna Thayee K J Yesudas Swarnalatha Maalai En Vethanai Sethu Unni Krishnan Arunmozhi S N Surendar Thendrale Kadhal Desam A R Rahman Mano Unni Krishnan O Vennila Unni Krishnan Kandukondain Kandukondain Ragam Nalinakanthi Touches also Kandukondain Kandukondain Hariharan Mahalakshmi Iyer Maanooththu Manthaiyile Kizhakku Cheemayile S P Balasubrahmanyam Sasirekha Ini Achcham Achcham Illai Indira Sujatha Mohan Anuradha Sriram G V Prakash Shweta Mohan Esther Thoda Thoda Malarndhadhenna S P Balasubrahmanyam K S Chithra Kangalil Enne Uzhavan Pennalla Pennalla S P Balasubrahmanyam Moongilile Paatisaikum Kaatralaiyai Raagam Thedum Pallavi T Rajendar Mazhaiyum Neeye Azhagan Maragadha Mani Sa Sa Sa Sani Thapa Niveathaa Nee Pathi Naan Pathi Naadodi Paattu Paada Harichandra Agosh Enna Kathai Solla Annanagar Mudhal Theru Chandrabose S P Balasubrahmanyam K S Chithra Shenbaga Poovai Paasamalargal V S Narasimhan S P Balasubrahmanyam Sujatha Mohan Nalam Nalamariya Aval Kadhal Kottai Deva S P Balasubrahmanyam Anuradha Sriram Pulveli Pulveli Aasai K S Chithra Unni Krishnan Humming only Yeno Yeno Appu Hariharan Sujatha Harini Sollathae Sollamale Bobby Hariharan K S Chithra Aval Ulaghazhagi Lesa Lesa Harris Jayaraj Karthik Rakita Rakita Rakita Jagame Thanthiram Santhosh Narayanan Dhanush Santhosh Narayanan Kadhale Kadhale Konjam Koffee Konjam Kaadhal Phani Kalyan Prasanna Neha NairNotes edit Delvoye Francoise 2013 New Developments in Asian Studies Routledge p 344 ISBN 978 1 136 17470 4 Archived from the original on 26 May 2021 Retrieved 11 March 2018 Singha H S 2000 The Encyclopedia of Sikhism over 1000 Entries Hemkunt Publishers p 10 ISBN 978 81 7010 301 1 Retrieved 26 May 2021 References editBor Joep ed Rao Suvarnalata der Meer Wim van Harvey Jane co authors The Raga Guide A Survey of 74 Hindustani Ragas Zenith Media London 1999 External links editSRA on Samay and Ragas SRA on Ragas and Thaats Retrieved from https en wikipedia org w index php title Bilaval amp oldid 1192211210, wikipedia, wiki, book, books, library,
