Pilu vs Kirwani
A study guide for two raags that a cited source names as similar. Every field is cited; no musician has reviewed this comparison yet.
Side by side on the twelve swaras
Lit notes are each raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary's core swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary set. An arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary can add notes or touches outside it; play them to hear where the two raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary part.
Raag Pilu
Tap a lit note to hear it · Synthesized for study — not a recording
Raag Kirwani
Tap a lit note to hear it · Synthesized for study — not a recording
Pilu
Kafi thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, any time
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Ga Ma Pa Ni Sa'
Source: Artium Academy +1
- Artium Academy, Raag Pilu page, aroha
- Rāga Junglism / George Howlett, Melodic summary, Aroha
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni Dha Pa Ma ga Re Sa .Ni Sa ga Re Sa
Source: Artium Academy
- Artium Academy, Raag Pilu page, avaroha
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- ga Re Sa Ni Sa; Ni Sa Re ga - Sa ga Re Sa Ni -; Ga Ma Pa dha Pa Ma Pa ga Re
Source: AUTRIM
- AUTRIM, Pilu page, description
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- ga
Source: Krsna Kirtana Songs +1
- Krsna Kirtana Songs, Raga facts, Vadi
- KalaSudha, Quick Facts / Technical Details, Vadi (King Note)
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- ni
Source: Krsna Kirtana Songs +1
- Krsna Kirtana Songs, Raga facts, Samvadi
- KalaSudha, Quick Facts / Technical Details, Samvadi (Queen Note)
Kirwani
night (second praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the night, about 9 pm–12 am)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Re ga Ma Pa dha Ni Sa'
Source: Artium Academy +3
- Artium Academy, Raag Kirwani page, aroha
- Raga Junglism, Kirwani page, Aroha
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, aroha
- Raga Junglism / George Howlett, Kirwani | SRgmPdNS | Hindustani Raga Index | 365+ Ragas, aroha
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni dha Pa Ma ga Re Sa
Source: Artium Academy +1
- Artium Academy, Raag Kirwani page, avaroha
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, avaroha
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ma Pa Ni Sa Ni dha; Ni dha Pa ga Re
Source: Raga Junglism +1
- Raga Junglism, Kirwani page, Pakad
- Raga Junglism / George Howlett, Kirwani | SRgmPdNS | Hindustani Raga Index | 365+ Ragas, pakad
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Pa
Source: Artium Academy +1
- Artium Academy, Raag Kirwani page, profile details
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Sa
Source: Artium Academy +1
- Artium Academy, Raag Kirwani page, profile details
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, samvadi
Why students confuse them
The Shuddh Pilu form with komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga/Dha and shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re/Ni resembles Kirwani.
Source: AUTRIM
- AUTRIM, Pilu page, description
The scale includes hints of Pilu in Ma Pa Ni Sa and ga Re Sa.
Source: Raga Junglism
- Raga Junglism, Kirwani page, notes
Study focus
Pilu
Rest on lower Ni, and tell the two forms of Ga and Ni apart going up and coming down.
Kirwani
Hear komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga, komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha and shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni together, and Re as a favoured resting note.
Core swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary overlap
Shared
Pilu only
Kirwani only
No unique swarasSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary for Kirwani in the cited profiles.