Continuing our series on raags named after their creators, today we turn to Bilas Khan, one of Mia Tansen’s sons, who is believed to have devised Bilaskhani Todi. One of the stories surrounding the creation of this raag describes Bilas Khan singing this variant of Todi as a musical tribute at Tansen’s funeral.
Ustaad Zia Mohiuddin Dagar
The first track features an aalaap in the raag Bilaskhani Todi by the famous rudra veena player Zia Mohiuddin Dagar. The aalaap or free-flowing melodic introduction begins with a deep and resonant tone and long meends or glides between swaras or notes. It is followed by a jod section that has a pulse maintained by the right-hand strokes. A jhala or the section with quick repetitive right-hand strokes is played at the end.
Ali Akbar Khan
Sarod maestro Ali Akbar Khan also plays a detailed aalaap, jod, jhala, with long meends and gamaks or rapid oscillations on each swara. Listeners will notice the controlled intonation and articulation of swaras and phrases that the maestro demonstrates in this recording. Towards the end, the right-hand strokes are more percussive and quicker.
Pandit DV Paluskar
The last track features a madhya laya khayal in the raag Bilaskhani Todi composed by the eighteenth century composer Niamat Khan "Sadarang" and presented by Gwalior gharana exponent D.V. Paluskar.
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Ustaad Zia Mohiuddin Dagar
The first track features an aalaap in the raag Bilaskhani Todi by the famous rudra veena player Zia Mohiuddin Dagar. The aalaap or free-flowing melodic introduction begins with a deep and resonant tone and long meends or glides between swaras or notes. It is followed by a jod section that has a pulse maintained by the right-hand strokes. A jhala or the section with quick repetitive right-hand strokes is played at the end.
Ali Akbar Khan
Sarod maestro Ali Akbar Khan also plays a detailed aalaap, jod, jhala, with long meends and gamaks or rapid oscillations on each swara. Listeners will notice the controlled intonation and articulation of swaras and phrases that the maestro demonstrates in this recording. Towards the end, the right-hand strokes are more percussive and quicker.
Pandit DV Paluskar
The last track features a madhya laya khayal in the raag Bilaskhani Todi composed by the eighteenth century composer Niamat Khan "Sadarang" and presented by Gwalior gharana exponent D.V. Paluskar.
