Raag Alhaiya Bilawalअल्हैया बिलावल
Sourced · not yet reviewed by a musician
Bilawal thaat · Shadav-Sampurna · Morning
- Dawn
- Morning
- Afternoon
Swaras and phrases
Tap a lit note to hear it · Synthesized for study — not a recording
- 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 Pa Dha Ni Sa'
Source: NIOS +3
- NIOS, printed p.17, §2.2.3, Alhaiya Bilawal ascending example
- Artium Academy, Raag Alhaiya Bilawal page, aroha
- Raagist, Arohi
- Raga Junglism, Melodic summary / Aroha:
- 4 of 7 sources agree
- 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 Dha ni Dha Pa Ma Ga Ma Re Sa
Source: NIOS +2
- NIOS, printed p.10, Raga Parichay, Avaroha
- NIOS, printed p.17, §2.2.4, Alhaiya Bilawal descending example
- Online Sangeet, Description / Avaroh
- Sources split 2–2–2Other version, 2 sources:Sa' Ni Dha Pa Dha ni Dha Pa Ma Ga Re Sa
- 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 Ga / Pa; Dha ~ ni Dha \ Pa; Dha \ Ga; Ga Ma Re Ga Pa Ma Ga
Source: AUTRIM
- AUTRIM, Alhaiya Bilaval page, characteristic phrases
- 5 versions in 4 sources
About Alhaiya Bilawal
Alhaiya Bilawal is a major 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 of the Bilawal family with indirect movement. Ma is left out of the direct ascent but appears in turns, and 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 Ni appears in the descent between two Dha notes.
Source: AUTRIM +1
Also called Bilaval.
Source: AUTRIM
- AUTRIM, Alhaiya Bilaval page, opening description
How it moves
Avaroha: NIOS prints the first note as “Si”, a misprint for upper Sa.
Learner focus
Learn the Ga Ma Re Ga Pa turn and the descending Dha ni Dha Pa. AUTRIM marks Ga and Ni as important.
Source: AUTRIM
- AUTRIM, Alhaiya Bilaval page, opening description
Caution
Shuddha Bilawal uses Ma in the ascent and has no 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 Ni, which sets it apart from Alhaiya Bilawal.
Source: AUTRIM
- AUTRIM, Alhaiya Bilaval page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing the turn Ga Ma Re Ga Pa slowly.
- Sing the descent Sa' Ni Dha Pa Dha ni Dha Pa Ma Ga Ma Re Sa and mark the 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 Ni.
- Shuddha Bilawal has Ma in the ascent and no 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 Ni. Sing an Alhaiya Bilawal ascent without Ma.
Based on: AUTRIM +8
- AUTRIM, Alhaiya Bilaval page, characteristic phrases
- NIOS, printed p.10, Raga Parichay, Avaroha
- NIOS, printed p.17, §2.2.4, Alhaiya Bilawal descending example
- Online Sangeet, Description / Avaroh
- NIOS, printed p.17, §2.2.3, Alhaiya Bilawal ascending example
- Artium Academy, Raag Alhaiya Bilawal page, aroha
- Raagist, Arohi
- Raga Junglism, Melodic summary / Aroha:
- AUTRIM, Alhaiya Bilaval page, description
Variants
- Ma is omitted in direct ascent but permitted in Ga Ma Re Ga Pa.
Source: AUTRIM
- AUTRIM, Alhaiya Bilaval page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 6 sources agree
- Jati5 of 7 sources agree
- TimeSources split 4–4
- Aroha4 of 7 sources agree
- AvarohaSources split 2–2–2
- Pakad5 versions in 4 sources
- VadiAll 7 sources agree
- SamvadiAll 6 sources agree
Sources differ
Notes where the cited sources describe the 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 differently. Field-by-field versions and their sources are under How the sources vote.
- NIOS labels the jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary Sampurna-Sampurna even though its ascent leaves out Ma, and its descent starts with a misprint (“Si” for upper Sa). AUTRIM calls Ga and Ni important, while NIOS names Dha and Ga as 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 and 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.
Similar raags named by the sources
- Shuddha Bilaval: Ma appears in ascent and 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 Ni is absent.
Source: AUTRIM
- AUTRIM, Alhaiya Bilaval page, description
Not stated in our sources yet
The sources we cite do not state: mood. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Alhaiya Bilawal. Each song shows whether a musician has reviewed it yet.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
A record that teaches and performs
AUTRIM describes an Omkarnath Thakur record with a Hindi lecture on Shuddha Bilaval and Alhaiya Bilaval on one side. The other side contains his Alhaiya Bilaval performance.
Documented · Source: Further listening: Omkarnath Thakur record 33ECK3303
Sources for this profile
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, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, 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, 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, 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 and 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 show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Alhaiya Bilaval: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Hindustani Music (242), Practical Book 2, Chapter 1: Chota KhayalNational Institute of Open Schooling · cited as NIOSGovernment open-schooling course book with raag profiles (Raga Parichay). Accessed 7 October 2026. Located by printed page; paraphrased.
- Raag Alhaiya BilawalArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Alhaiya Bilawal - DarbarDarbar Arts Culture Heritage Trust · cited as DarbarRobots permits public raga pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
- Raagist -Raag Alhaiya BilawalRaagist · cited as RaagistPublic page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raag/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
- Alhaiya Bilawal Raag Bandish 16 Matras alap Taan Notes Music Notes In EnglishOnline Sangeet · cited as Online SangeetRobots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
- Raag Alhaiya Bilawal — Aaroh, Avaroh, Pakar & Samay | RiyazRiyaz / myriyaz.com · cited as RiyazRobots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
- BHMCT-103, Block 5 हिन्दुस्थानी संगीत के अनिवार्य तत्व, Unit 3 पाठ्यक्रम के राग एवं तालIndira Gandhi National Open University (eGyanKosh) · cited as IGNOU BHMCT-103University self-learning material. All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.
- Hindustani Music (242), Theory Book 1, Chapter 2: Elements of RagaNational Institute of Open Schooling · cited as NIOSDefines the jati terms used to label note counts. Accessed 7 October 2026. Located by printed page; paraphrased.
- Alhaiya Bilawal | SRGmPDnNS | Hindustani Raga Index | 365+ RagasGeorge Howlett / Raga Junglism · cited as Raga JunglismRobots checked: public /ragas/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.