Approximates the Western Major Scale, thus taking an ‘all-shuddha’ sampurna swara set – and selected by the great V.N. Bhatkhande as the titular raga of Bilawal thaat – although its popularity has declined in the century since (partly in favour of prakritis such as Tilak Kamod and Bihari). Dha and Ga assume vital roles (although Dha should not be a nyas), and ma is sometimes omitted in ascent – while the inclusion of komal ni brings shades of Alhaiya Bilawal (…some say the ragas are indistinguishable). With possible origins in Veraval, Gujarat, the raga features prominently in Sikh history – with hundreds of shabads set to the raga by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Tegh Bahadur, and other saints (one Sikh writer describes the raga’s mood as “an overwhelming feeling of fulfilment, satisfaction and joy…like laughing out loud, there is no planning or ulterior motive”). Traditionally linked to the morning hours, and the hot summer sun.
Raag Bilaval is an essential musical composition in Sikh musicology, featured prominently in the Guru Granth Sahib. It is the 25th raag in the sequence and spans pages 795 to 857. This raag is known for its serene and blissful nature, often used to express themes of joy, devotion, and divine union.
The mood of Raag Bilaval is one of calmness and spiritual elevation. It creates a peaceful atmosphere and is often associated with early morning performances. Its ascending (Aroh) and descending (Avroh) note patterns provide a melodic structure that supports compositions centered on themes like the celebration of divine virtues, humility, and gratitude.
Several Gurus, including Guru Nanak, Guru Arjan, and Guru Tegh Bahadur, contributed hymns in this raag, exploring a variety of spiritual teachings. Additionally, Raag Bilaval is further divided into sub-forms, such as Bilaval Mangal and Bilaval Gauri, showcasing its adaptability to different emotional and thematic contexts.
