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Bilahari
ArohanamS R₂ G₃ P D₂ Ṡ
AvarohanamṠ N₂ D₂ P M₁ G₃ R₂ S

Bilahari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a janya rāgam (derived scale) from the 29th melakarta scale Sankarabharanam. It is a janya scale, as it does not have all the seven swaras (musical notes) in the ascending scale. It is a combination of the pentatonic scale Mohanam and the sampurna raga scale Sankarabharanam.[1]

Structure and Lakshana

[edit]
Ascending scale with shadjam at C, which is same as Mohanam scale
Descending scale with shadjam at C, which is same as Sankarabharanam scale

Bilahari is an asymmetric rāgam that does not contain madhyamam or nishādham in the ascending scale. It is an audava-sampurna rāgam (or owdava rāgam, meaning pentatonic ascending scale).[1][2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows:

  • ārohaṇa : S R₂ G₃ P D₂ Ṡ[a] they are used in every song

The notes used in this scale are shadjam, chathusruthi rishabham, antara gandhara, panchamam and chathusruthi dhaivatham in ascending scale, with kakali nishadham and shuddha madhyamam included in descending scale. For the details of the notations and terms, see swaras in Carnatic music.

This rāgam also uses kaishiki nishadham (N2) as an external note (anya swara) in the descending scale. Hence it is considered a bhashanga rāgam, a scale with notes external to the parent scale.[1][2]

[edit]

There are many compositions set to Bilahari rāgam. Here are some popular kritis composed in Bilahari.

Film songs

[edit]

Language:Tamil

[edit]
Song Movie Composer Singer
Orumaiyudan Ninathu Thirumalaradi Konjum Salangai S. M. Subbaiah Naidu Soolamangalam Rajalakshmi
Unnaikkandu Naanada Kalyana Parisu A. M. Rajah P. Susheela
Aval Melai Sirithaal Pachhai Vilakku Viswanathan–Ramamoorthy
Alayamani Kathave Thalthiravai Thiruvarutchelvar K. V. Mahadevan T. M. Soundararajan, Master Maharajan
Kondaliley Megam Bala Nagamma Illayaraja K.J. Yesudas
Nee ondruthan Unnal Mudiyum Thambi
Maaman Veedu Ellam Inba Mayyam Malaysia Vasudevan
Thendrale Kadhal Desam A. R. Rahman Mano, Unni Krishnan
Omana Penne Vinnaithaandi Varuvaayaa Benny Dayal, Kalyani Menon
Poo Pookum Osai Minsara Kanavu Sujatha Mohan
Pookkale Satru Oyevidungal I Haricharan, Shreya Ghoshal
Kummi Adi Sillunu Oru Kaadhal Sirkazhi G. Sivachidambaram, Swarnalatha, Naresh Iyer, Theni Kunjarammal, Vignesh, Chorus
Kadhal Anukkal Enthiran Vijay Prakash, Shreya Ghoshal
Vaanga Makka Vaanga Kaaviya Thalaivan Haricharan,Dr. Narayanan
Azhagiye Kaatru Veliyidai Arjun Chandy, Haricharan, Jonita Gandhi
Vaan Engum Nee Minna Endrendrum Punnagai Harris Jeyaraj Aalap Raju, Harini, Devan, Praveen
Then Kathu Gethu Haricharan, Shashaa Tirupati
Mun Andhi 7 Aum Arivu Karthik, Megha
Kalyana Sundari Yaro Oru Murai Adaikalam Sabesh–Murali Shankar Mahadevan,Anuradha Sriram
Kanna Nee Thoongadaa Baahubali 2: The Conclusion M. M. Keeravani Nayana Nair
Koelae

("Nethalla Marandhida Adingada Janda")

RRR Vishal Mishra, Benny Dayal, Sahiti Chagandi, Harika Narayan
Siru Thoduthalile Laadam Dharan Kumar Bombay Jayashree, Haricharan
Pularaadha Dear Comrade Justin Prabhakaran Sid Sriram, Aishwarya Ravichandran
Rasavachiye Aranmanai 3 C. Sathya Sid Sriram
Aradhya Kushi (2023 film) Hesham Abdul Wahab Sid Sriram, Chinmayi Sripada
Kaami Kaami Tughlaq Durbar Govind Vasantha Govind Vasantha, Swastika Swaminathan
[edit]

This section covers the theoretical and scientific aspect of this rāgam.

Scale similarities

[edit]
  • Mohanam has a symmetric pentatonic scale, with the notes same as the ascending scale of Bilahari. Its ārohaṇa-avarohaṇa structure is S R2 G3 P D2 S : S D2 P G3 R2 S
  • Shankarabharanam is a rāgam with the notes same as the descending scale of Bilahari. Its ārohaṇa-avarohaṇa structure is S R2 G3 M1 P D2 N3 S : S N3 D2 P M1 G3 R2 S
  • Mohanakalyani is a rāgam which has the prati madhyamam in descending scale (descending scale of Kalyani) in place of the shuddha madhyamam. Its ārohaṇa-avarohaṇa structure is S R2 G3 P D2 S : S N3 D2 P M2 G3 R2 S
  • Garudadhvani is a rāgam which has the ascending and descending scales interchanged, in comparison with Bilahari. Its ārohaṇa-avarohaṇa structure is S R2 G3 M1 P D2 N3 S : S D2 P G3 R2 S
  • Desakshi is a rāgam which is similar to Bilahari. The arohana remains the same, while the sampoorna avarohana has Kaishiki Nishada in place of Kakali Nishada. Its ārohaṇa-avarohaṇa structure is S R2 G3 P D2 S : S N2 D2 P M1 G3 R2 S

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bilahari

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Bilahari is a janya rāga in , derived from the 29th melakarta rāga , blending elements of the pentatonic scale and the sampurna scale. Its ārohaṇa (ascending scale) consists of the notes Sa Ri₂ Ga₃ Pa Dha₂ Sa, while the avarohaṇa (descending scale) is Sa Ni₃ Dha₂ Pa Ma₁ Ga₃ Ri₂ Sa, employing an audava-sampurna structure with five notes in ascent and all seven swaras in descent. This morning rāga evokes bhakti rasa (devotional sentiment), promoting positivity, happiness, and relaxation through its melodic contours, and has been studied for therapeutic effects in reducing anxiety, sleep disturbances, and somatic symptoms. Bilahari's structure highlights key swaras like Ga₃ and Dha₂ in characteristic phrases, often enriched with gamakas for expressive depth in vocal and instrumental renditions. Among its notable compositions, Tyagaraja's Narasimha nannu brovave in tripuṭa tāḷa praises Lord , while Muthuswami Dikshitar's Śrī Bālasubrahmaṇya in cāpu tāḷa invokes the deity Subrahmanya, and Patnam Subramania Iyer's Paridhānamiccitē in khaṇḍa cāpu tāḷa reflects on divine grace. The rāga also features in instructional forms like the swarajati Rāravēnu by , underscoring its versatility in both improvisation (manodharma) and fixed compositions (kritis).

Introduction and Classification

Definition and Etymology

Bilahari is a janya rāga in the tradition of South Indian classical music, functioning as a melodic framework that guides (manodharma) and the creation of compositions such as kritis and varnams. As a derived scale, it embodies the aesthetic and emotional essence of Carnatic ragas, evoking sentiments of joy and positivity, often performed in the morning to convey an energetic and uplifting mood. The rāga's structure and usage have evolved within the Carnatic system, with notable transformations in phrasing occurring over time, such as the shift from the phrase PDNS to PDS within a century of its documentation. This adaptability highlights Bilahari's integration into the modern repertoire, influenced by composers like , who contributed key works that standardized its practice. Bilahari emerged as part of the South Indian classical music tradition following the , coinciding with the systematization of the scheme by the 17th-century musicologist Venkatamakhi in his treatise Chaturdandi Prakasika. This framework classified parent scales (melakartas) from which janya ragas like Bilahari are derived, marking a pivotal advancement in rāga organization around 1660 CE. The etymology of "Bilahari" lacks definitive in historical texts, though its name suggests a possible connection to the Hindustani rāga , with which it shares melodic contours and is considered equivalent across the two traditions. This linkage underscores the historical interplay between North and South Indian musical systems, where Bilahari corresponds to the 29th Sankarabharanam in Carnatic classification.

Parent Melakarta and Janya Characteristics

Bilahari is a janya rāgam derived from the 29th rāgam, Dheerasankarabharanam (also known as Sankarabharanam), which features the full comprising shadjam (S), chatusruti rishabham (R2), antara gandharam (G3), shuddha (M1), panchamam (P), chatusruti dhaivatham (D2), and kakali nishadam (N3). As a janya scale, Bilahari omits certain notes—specifically and nishadam—in its ascent, resulting in its classification as an audava-sampurna rāgam, with a pentatonic and a complete heptatonic avarohana. It is further categorized as a bhashanga rāgam due to the occasional use of an anya swara, namely kaisiki nishadam (N2), which introduces notes outside the strict parent scale for expressive purposes. The key swaras in Bilahari include shadjam (S), chatusruti rishabham (R2), antara gandharam (G3), shuddha madhyamam (M1), panchamam (P), chatusruti dhaivatham (D2), and kakali nishadam (N3), with the rāgam exhibiting a vakra (zigzag or non-linear) nature in its characteristic phrases that enhance its melodic contour. Traditionally rendered as a morning rāgam, Bilahari evokes sentiments of joy and devotion, aligning with its bright and uplifting tonal quality suitable for post-sunrise performances.

Musical Structure

Arohana and Avarohana

Bilahari rāga follows an audava-sampūrṇa structure in its ascending and descending scales. The arohana (ascending scale) consists of five notes: S R2 G3 P D2 S', omitting the madhyamam and nishādam entirely. This pentatonic ascent emphasizes a bright, melodic flow derived from its parent melakarta. The avarohana (descending scale) is sampūrṇa, incorporating all seven swaras in linear descent: S' N3 D2 P M1 G3 R2 S. Here, the introduction of shuddha madhyamam (M1) and kakali nishādam (N3) provides the rāga's characteristic depth, distinguishing it from purely audava forms. The phrasing in the descent, particularly the introduction of M1 and N3, creates a subtle contour that highlights Bilahari's janya essence from the 29th melakarta, Śankarābharaṇam. In the Carnatic system's 12 swara sthānas (distinct pitch positions), with 16 variants due to overlaps, Bilahari's notes align as follows: chatusruti rishabham (R2) at the third sthāna, antara gāndhāram (G3) at the fifth sthāna, shuddha madhyamam (M1) at the sixth sthāna, chatusruti dhāivatam (D2) at the tenth sthāna, and kakali nishādam (N3) at the twelfth sthāna, with shadjam (S) and pañchamam (P) fixed at their primary positions (first and eighth, respectively). These placements, including the defining M1 and N3 from Śankarābharaṇam, ensure precise intonation within the . For clarity, the scales can be represented in tabular form using Western equivalents (assuming C as shadjam for illustration):
Swara NotationArohana PositionAvarohana PositionWestern EquivalentSwara Sthāna Description
1st8thC
R22nd7thDChatusruti Rishabham
G33rd6thEAntara Gandharam
M1-5thFShuddha Madhyamam
P4th4thGPanchamam
D25th3rdAChatusruti Dhaivatam
N3-2ndBKakali Nishadam
6th (upper)1st (upper)C (octave) (upper)
This table illustrates the audava ascent and sampurna descent, underscoring the rāga's structural balance. Bilahari exhibits bhashanga characteristics through occasional anya swaras in elaboration, though the core scales remain as defined.

Lakshana and Phrases

Bilahari is characterized by its energetic and devotional essence, evoking a sense of joy and positivity that makes it particularly suitable for morning performances. As an audava-sampurna raga, it derives its asymmetric beauty from a pentatonic ascent and a heptatonic descent, blending the bright, pentatonic simplicity of with the melodic fullness of its parent melakarta . This fusion imparts a lively, uplifting quality, often conveying devotion and emotional depth through subtle ornamentations. The core lakshana emphasizes jeeva swaras such as R2, M1, and D2, which provide the raga's vital melodic identity and drive its expressive potential. Characteristic phrases, or prayogas, highlight these elements, including ascending motifs like R2-G3-P and descending ones like M1-G3-R2 and D2-P-M1, which capture the raga's buoyant flow. A signature janta prayoga, SNRSSNND, adds rhythmic emphasis, while the opening phrase G3-P-D2-S establishes its bright initiation. Gamakas on G3 and N3 enhance emotional nuance, with oscillations lending a sense of yearning and resolution, though direct leaps like S to N3 are typically avoided to preserve the raga's distinct contour. In performance, Bilahari thrives in madhya kala (medium tempo) for its brisk, engaging pace, commonly set in adi or rupaka talas to accentuate its rhythmic vitality. It lends itself well to alapana, where expansive explorations of its phrases build intensity, and neraval, allowing elaboration on key lines to reveal its devotional fervor without straying into adjacent ragas.

Compositions in Carnatic Music

Kritis by Major Composers

Bilahari rāga's melodic structure lends itself well to expressions of bhakti, making it a favored choice for kritis by the Carnatic Trinity and subsequent composers. Tyāgarāja composed several kritis in this rāga, with "Narasimha Nānu" in tripuṭa tāḷa standing out as a Telugu-language piece dedicated to Lord Narasimha, praising the deity's protective grace. "Kanugontini Śrī Rāmuni" in desāḍi tāḷa also highlights themes of seeking divine grace and the devotee's longing for the Lord's vision, portraying the joy of spiritual realization through vivid imagery of Rāma's benevolence. Another notable Tyāgarāja kriti, "Dorakuna Ituvanti Seva" in ādi tāḷa and Telugu, serves as a plea for unwavering devotion, emphasizing the rarity of true service to the divine and the composer's humility before Rāma's compassion. "Nā Jīevadhara" in ādi tāḷa further exemplifies Tyāgarāja's focus on bhakti, where the devotee implores Rāma as the sustainer of life, highlighting themes of existential dependence and surrender. Annasvāmi Śāstri, a descendant of Śyāma Śāstri known for compositions invoking the , set "Maharājni" in Bilahari with ādi tāḷa, addressing Goddess Kamakshi as the supreme queen. This kriti conveys a deep plea for protection and devotion, underscoring the mother's role in granting liberation through her grace, with structured saṅgatis enhancing its rhythmic appeal. Muṯṯuswāmi Diḵṣitar's "Śrī Bālasubrahmaṇya" in cāpu tāḷa is a kriti invoking the Subrahmaṇya, reflecting themes of divine protection. "Śrī Madhurapuri Vihāriṇi" in rūpaka tāḷa praises Rājamātāṅgi, the consort of Śiva, as the enchanting resident of Madhura Puri. Composed during his Madurai sojourns, it reflects themes of divine protection and the transcendence of illusion, incorporating rāga and vivid descriptions of the 's attributes to evoke longing for spiritual union. Among later composers, Paṭṇam Subramaṇia Iyer's Telugu kriti "Paridānamiccitē" in khaṇḍa cāpu tāḷa honors Lord Krishna, requesting forgiveness for human flaws and adornment in devotion. The piece captures bhakti through its lyrical appeal to Krishna's mercy, blending melodic phrases for emotional depth. Swāti Tiruṇal's Sanskrit composition "Ārādhayāmi" in ādi tāḷa expresses daily worship of the divine, portraying the Lord as the object of perpetual adoration and the source of cosmic support. This devotional plea aligns with Bilahari's uplifting quality, emphasizing themes of reverence and eternal longing. Arunachala Kavi contributed to the rāga through Tamil verses in his Rāmanāṭaka, including "Ezhundhale Pūṅkoḍai" in ādi tāḷa, which narrates Sītā's awakening and Rāma's procession, infusing narrative bhakti with the rāga's bright contours to depict divine interventions. These kritis collectively underscore Bilahari's suitability for bhakti expressions, often in Telugu or Sanskrit, with tālās like ādi predominating to facilitate elaborate renditions.

Varnams and Other Forms

In , varṇams and swarajatis in Bilahari serve as essential pedagogical tools, enabling students to master the rāga's melodic structure through structured passages and lyrical elements. The swarajati-varṇam "Rāravēnu Gōpabala," composed by Paṭṇam Subramaṇia and set in ādi tāḷa, exemplifies this form; its pallavi and charaṇams incorporate swaras that systematically outline the rāga's ascending and descending scales while introducing subtle vakra prayōgās, such as the zig-zag phrase N3-D2-P-M1-G3. This piece is widely taught in beginner lessons to build familiarity with Bilahari's characteristic phrases, like the gamaka-rich G3-R2-S and P-M1-G3-R2, fostering precise intonation and rhythmic control. Another prominent varṇam in Bilahari is "Inta Cauka," attributed to Vēṇai Kuppayyar and also in ādi tāḷa, which emphasizes the rāga's upper register through etyukara swaras and chitta swaras that highlight its vakra saṁcārās. These compositions are rendered in three speeds—vilamba, madhyama, and druta—to train performers in accelerating tempos without compromising the rāga's ornate gamakās, such as the kaṁpita on G3 and the jāru from D2 to P. Through repeated practice, students internalize Bilahari's unique ornamental style, preparing them for more complex improvisations. Beyond varṇams, other forms like tillānās and jāvalis expand Bilahari's expressive range in lighter, rhythmic contexts. A well-known tillāna in Bilahari, composed by Ariyakkudi Rāmānujā Iyengar and set in ādi tāḷa, features percussive syllables (ta-ka-di-mi) interwoven with the rāga's scalar movements, often concluding concerts with energetic displays of laya variations. Jāvalis, such as "Pari Pōvalerā" by Paṭṭābhirāmayya in rūpaka tāḷa, introduce playful, bhāva-laden lyrics that showcase Bilahari's rakti qualities, employing short, evocative phrases to convey romantic sentiments while reinforcing gamaka techniques. In performance settings, Bilahari features in rāgam-tānam-pallavi (RTP), where musicians improvise ālapana, tānam, and pallavi around a chosen theme, as demonstrated in renditions by artists like T.R. Subramanyam, allowing exploration of the rāga's full potential beyond fixed compositions. Educationally, these forms are indispensable for teaching vakra prayōgās—non-linear note progressions like S-N3-D2-P—and the rāga's signature gamakās, which add emotional depth and distinguish Bilahari from straighter-scaled audava rāgās. By focusing on such elements, varṇams and related pieces cultivate a deep conceptual grasp of the rāga's , essential for both teaching and artistic interpretation.

Tamil Film Songs

Bilahari raga, known for its joyful and majestic , has found prominent place in , where composers leverage its uplifting phrases to convey romance and optimism, often in morning or light-hearted sequences. , a pioneer in fusing Carnatic elements with film music, frequently employed Bilahari to create melodic duets that evoke emotional warmth. A prime example is "Koondhalile Megam Vanthu" from the 1981 film Bala Nagamma, sung by and , where the raga's ascending phrases () build a sense of tender longing amid rustic romance. Another is "Maman Vidu" from Ellam Inba Mayam (1980), a playful track rendered by and , highlighting Bilahari's rhythmic vivacity through intricate swara patterns for comedic yet affectionate interplay. A.R. Rahman has innovatively adapted Bilahari by layering traditional prayogas with modern instrumentation, enhancing its emotional upliftment in contemporary narratives. In "Omana Penne" from Vinnaithaandi Varuvaayaa (2010), sung by Benny Dayal and Kalyani Menon, the raga's bright gandhara and dhaivata notes drive the melody, blending nadaswaram interludes with electronic beats to capture youthful infatuation. During the 1980s and 1990s, Bilahari gained cultural traction in Tamil films for its association with aspirational love stories, appearing in over a dozen scores to symbolize hope and connection, as seen in Ilaiyaraaja's prolific output that popularized the beyond classical circles.

Adaptations in Other Languages and Genres

Bilahari has found its way into through compositions that highlight its melodic charm and rhythmic vitality. A notable example is "Neethone Aagena Sangeetham" from Rudraveena (1988), which demonstrates Bilahari's appeal in narrative-driven tracks that blend classical nuances with popular sensibilities. In , Bilahari appears in more subdued adaptations, often infusing songs with a gentle, devotional or introspective quality. Representative instances include "Ajnathagayaka Arikil Varu" from Hotel Highrange (1980), composed by , and "Allimarkkayil" from Angathattu (1974), where the 's phrases lend emotional depth without overpowering the lyrical content. These examples underscore Bilahari's minor yet consistent presence in Malayalam soundtracks, typically in lighter or folk-inflected numbers rather than grand orchestral pieces. Beyond regional films, Bilahari has been reimagined in fusion and contexts, particularly through instrumental renditions that merge Carnatic traditions with global influences. Violinist , known for his innovative double violin technique, has performed intricate alapana and kritis like "Paridanamichite" and "Toli Janmamu" in Bilahari, blending South Indian elaboration with Western improvisational flair during live concerts. Similarly, virtuoso elevated the raga in contemporary settings, as seen in his instrumental interpretations of Tyagaraja's "Kanugontini Sri Ramuni" and "Intakanna Nandamemi," where the 's bright adds a fusion edge suitable for broader audiences. These works highlight Bilahari's adaptability, owing to its asymmetric scale that allows seamless integration into ensembles. On a global scale, Bilahari occasionally features in Hindustani-Carnatic , showcasing its versatility across Indian classical traditions. For instance, performances like the mridangam-tabla on Tyagaraja's "Kanugontini" in Bilahari demonstrate rhythmic dialogues that bridge Southern and Northern styles, appealing to diverse listeners. Western adaptations remain sparse but include experimental fusions in music and cross-cultural compositions, where the raga's joyful essence supports non-classical explorations, such as in relaxation protocols that evoke positivity. This cross-genre reach affirms Bilahari's inherent flexibility for audiences beyond traditional Carnatic circles.

Scale Similarities

Bilahari, as a janya raga of the 29th Sankarabharanam, shares the full set of seven swaras—Shadja (S), Chatushruti Rishabha (R2), Antara (G3), Shuddha Madhyama (M1), Panchama (P), Chatushruti Dhaivata (D2), and Kakali Nishada (N3)—with its parent scale, which follows the sampurna structure S R2 G3 M1 P D2 N3 S'. However, Bilahari imparts a distinctive pentatonic feel to its by omitting M1 and N3, resulting in the audava ascent S R2 G3 P D2 S', while retaining the complete sampurna avarohana S' N3 D2 P M1 G3 R2 S. This selective omission creates a brighter, more streamlined ascending phrase that echoes the parent's melodic foundation without its full density. The of Bilahari closely mirrors that of , another pentatonic (audava-audava) renowned for its symmetric and luminous quality, both employing the exact sequence S R2 G3 P D2 S. This shared ascending scale contributes to a comparable sense of brightness and accessibility in both ragas, evoking a joyful, uncomplicated melodic flow. Yet, Bilahari diverges in its avarohana by incorporating G3 and D2 alongside the additional M1 and N3, which introduce greater harmonic complexity and a fuller descent compared to Mohanam's simpler, mirrored return. Bilahari also shows partial scale overlap with Mohanakalyani, the 65th raga, particularly in the avarohana where both utilize S' N3 D2 P G3 R2 S but differ in madhyama—M1 (shuddha) in Bilahari versus () in Mohanakalyani—highlighting a structural affinity through predominantly shuddha swaras while allowing for nuanced variations in . This connection underscores Bilahari's ties to broader Shankarabharanam variants, where such madhyama substitutions can yield related yet distinct janya forms.

Comparisons with Other Janya Ragas

Bilahari shares structural similarities with Garudadhvani, another janya raga of the , as both are derived from the same parent scale and employ kakali nishadam (N3) prominently. However, while Bilahari follows an audava-sampurna pattern—omitting dhaivata in the but including it in the avarohana—Garudadhvani reverses this to a sampurna-audava form, incorporating all seven notes in ascent (S R2 G3 M1 P D2 N3 S) but restricting the descent to five notes (S D2 P G3 R2 S), resulting in a majestic, expansive quality distinct from Bilahari's lively asymmetry. Desakshi, a bhashanga janya of the (29th), closely resembles in its overall audava-sampurna framework and identical arohana-avarohana scales (S R2 G3 P D2 S / S N3 D2 P M1 G3 R2 S), both using kakali nishadam (N3) as the primary nishada. However, Desakshi incorporates kaisiki nishadam (N2) as an anya swara (foreign note) in specific phrases like S N2 D2 P, along with vakra (zigzag) phrases that emphasize intricate melodic turns, particularly in the tara sthayi with ranjaka prayogas like N2-D2-P. This substitution imparts a more introspective depth to Desakshi, contrasting Bilahari's broader tristhayi sanchara and vibrant morning essence, though both evoke positivity through shared gandhara-maadhyama oscillations. Compared to Hamsadhwani, a fellow audava janya of Sankarabharanam, Bilahari highlights antara (Ga3) in conjunction with madhyama and dhaivata for a vigorous, melodic contour, whereas Hamsadhwani (in both Carnatic and Hindustani renditions) employs an audava-audava (S R2 G3 P N3 S) that omits madhyama and dhaivata entirely, yielding a simpler, brighter pentatonic serenity akin to Bhoopali's parallels but without Bilahari's dynamic blend of repose and energy. This distinction in selection underscores Bilahari's unique ability to fuse Mohanam-like cheer with Sankarabharanam's completeness, fostering an uplifting vigor that sets it apart among janyas.

References

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  16. https://www.quora.com/Do-Carnatic-ragas-have-a-time-for-the-day-like-there-are-morning-ragas-afternoon-ragas-and-evening-ragas-in-Hindustani-music
  17. https://www.shivkumar.org/music/varnams/raravenu-swarajati.pdf
  18. https://beautifulnote.com/blog/2017/12/03/carnatic-swarasthanas.html
  19. https://ccrma.stanford.edu/~arvindh/cmt/the_12_notes.html
  20. https://charulathamani.blogspot.com/2013/06/morning-ragas-bilahari-and.html
  21. https://www.quora.com/What-are-the-main-notes-in-the-Bilahari-raga
  22. https://www.karnatik.com/c2267.shtml
  23. https://www.karnatik.com/c30934.shtml
  24. http://syamasastri.blogspot.com/2007/11/syama-sastris-compositions-analysis.html
  25. https://www.karnatik.com/c5944.shtml
  26. https://www.shivkumar.org/music/paridhana.htm
  27. https://swathithirunalfestival.org/swathi-thirunal/compositions
  28. https://www.youtube.com/watch?v=MZWKKKJy8kQ
  29. https://www.vignanam.org/meaning/english/carnatic-music-svarajathi-1-rara-venu-gopa-bala.html
  30. https://www.shivkumar.org/music/varnams/InthaChouka-Bilahari.htm
  31. https://www.karnatik.com/varnams.shtml
  32. https://www.karnatik.com/c1212.shtml
  33. https://www.karnatik.com/c26063.shtml
  34. https://www.youtube.com/watch?v=lj7woyg15EM
  35. https://www.eambalam.com/blog/swarajathis-in-karnatic-music/
  36. https://ragapriya.org/uncategorized/the-importance-of-varnams
  37. https://ed.iitm.ac.in/~raman/music1.html
  38. https://www.thehindu.com/features/friday-review/music/a-ragas-journey-hindolam-highlights/article2373052.ece
  39. https://www.indiapicks.com/SNT_Telugu/P-167.htm
  40. https://www.malayalasangeetham.info/songs.php?tag=Search&raga=Bilahari&limit=36&page_num=1&sortorder=2&sorttype=1
  41. https://m3db.com/raga/92079
  42. https://archiveswest.orbiscascade.org/ark:80444/xv390807
  43. https://www.youtube.com/watch?v=FKGfXge8LKQ
  44. https://www.youtube.com/watch?v=GnnSIb_W92U
  45. https://www.youtube.com/watch?v=LNJABRiRoCQ
  46. https://www.drmradhakrishnan.com/post/rare-raga-series-mohana-kalyani-janya-of-mela-65-ragam-mecha-kalyani
  47. https://www.karnatik.com/c9628.shtml
  48. https://carnaticmusicexams.in/2022/08/10/desakshi/
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