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Devgiri Bilawal

  • rohan170699
  • 4 days ago
  • 3 min read

An evening beauty wrapped in a morning melody.


Artists are never satisfied with what they have, always striving for something different. There's always a perpetual disquiet to transform the familiar into the unknown. We constantly tinker with our art, seeking novelty, driven by a restless urge to innovate and transcend. This relentless pursuit of change can be creative.


Devgiri Bilawal is one such raag, a variant of bilawal. Prof. Deodhar recalls an incident with Baba Allauddin Khan, where Khansahab said, "Devgiri to subah ka Shuddh Kalyan hai." An evening beauty wrapped in a morning melody. However, like the diverse culture of India, there are diverse interpretations of Raag Devgiri Bilawal. Before embarking on this journey to Devgiri, let's briefly visit its origin – Bilawal and Bilawal Ang. 


The that Bilawal consists of 7 Shuddha Swar. Raag Alhaiya Bilawal has all the hallmark features of it.

Let N - Shuddh Swar 

n - Vikrut Swar 

N’ – Mandra Saptak Swar 

N” – Taar Saptak Swar 

N’D’N’S, GMRGP, PDG, GPDnDPMG, PMGRS


These are prominent phrases in Alhaiya Bilawal and are characteristic movements of Raagang Bilawal. Renowned musicologist Aacharya S.N. Ratanjankar explains the raag's features in this brief lec-dem.



Coming back to Raag Devgiri Bilawal, there are different perceptions about its structure. The widely known version is a combination of Shuddha Kalyan and Bilawal Ang where the span of Raag ranges from mandra pancham to madhya saptak pancham. Use of madhyam and nishad is minimal. The madhyam and nishad are used mostly as Kan Swar and Nyas is on S, G, P. 


S, N’D’S, RG, GRS, D’P’G, GRGPMG


Here, SRGRS, D'P'G represents Shuddha Kalyan, and latter represents Bilawal Ang. Listen to the rendition of Sharad Sathe, who portrayed this Raagrup elegantly through the Khayal Aaj badhai.



However, some Kalyan Ang phrases are included in the widely sung variation along with the P'-G phrase depicting Shuddha Kalyan. There is adequate use of madhyam and Nishad. SN’D’S, N’RGRS are Kalyan Ang phrases. However, musicologists like Prof. Deodhar considers this as a type of Yamani Bilawal without teevra madhyam. 


S, N’D’S, NRGRS, D’P’G, NRGMGR, GRS


This Raagrup can be observed in Balkrishnabuwa's lineage of Gwalior Gharana. Some use the Komal Nishad in DnDP phrase, though in Vinayakbua's tradition it is completely omitted. "Ya Bana Byahan Aya" by K.G. Ginde showcases the above Raagrup in its best version. In the same recording, the drut bandish "Mano Jara" has a different interpretation of Devgiri. In the Sthai, "Ab Manani" the GMP GMGRS phrase indicates Bihag Ang. Also, in the Antara, "Jamuna chalo ab, Chhandi Ris" PGMGRS, SMGP phrase indicates Bihag Ang.



In Bhatkhande’s Kramik Pustak Maalka, there is a mention of some singers using teevra madhyam in Devgiri Bilawal. Ramashreya Jha has also mentioned it in Abhinav Geetanjali. We can listen to this Kalyan dominant version of Devgiri Bilawal in the recording of Rampur - Sahaswan gharana doyen, Nissar Hussain Khan. 



These are the widely sung interpretations of Raag Devgiri Bilawal. There are multiple deviations from these interpretations in different lineages of Jaipur gharana. In each rendition of Kishori Amonkar, Nivruttibua Sarnaik, Kumudini Katdare we can find different approaches to the raag. Also, there are diverse approaches in other traditions of Khayal like Vishnupur Gharana, Patiala Gharana which can be observed in the renditions of Ameeyaranjan Bandopadhyay, Prasun Banerjee. We'll end our trail here with a completely different approach to this Raag.


In the Agra tradition, the Raagrup is completely different. The Bilawal Ang is reversed and instead of GRGPMGMRS, the phrasing is done in following manner:


GMP GR G~RS, NDNS RG, RG RGMP, PDM~P GR G~RS, DNSRG, PDPPS"R"S" S"DPM~ P GR G~RS


The focus is shifted to Madhyam. The enunciation of Gandhar is not to be explained through text. There is also no SD'P'G phrase of Shuddha Kalyan. Let's listen to the rendition of Khalifa Khadim Hussain Khan. 




References:


 
 
 

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