Devgiri bilaval

As its name suggests, Devgiri bilaval is a member of the large Bilaval group.

Tone material: S R G m P D N

Ga and Dha are the important notes while Ga and Pa are the resting notes. Most movements are in the upper middle octave (Thakurdas [Rag darshan II] 1988: 64).

Some characteristic phrases:
NS R G m G- R G RS
P D \G
D \P / G
G P ND N S – DP m G

D /G is a typical glide indicative of its Bilaval association. Rag Alhaiya bilaval (vide) and Devgiri bilaval have some common phrases. However, the former also includes flat Ni and has its own distinct character. Similarly, there could be some resemblance to rag Yamani bilaval, especially in the lower tetrachord. Nonetheless, it also includes sharp Ma, and hence stands apart from Devgiti bilaval.

Time: morning (ibid)

Further listening:
Recording by K. G. Ginde
Recording by N. Rajam

Performance by Jayateerth Mevundi

Composition: bada khayal

बन ब्याहन अाया
निके बनी के कारन
सिस सेहरा झूलाये

घनी  (घन) घनी रात सुहाग की
नैंनमें कजरा दिलावो

The composition depicts a wedding scene; describing the groom decked with his decorated headgear. The wedding night is dark and so is the kohl in the bride’s eyes.

Tal: Ektal (slow tempo)

Performance:
5-30: After establishing Sa, the basic note, melody descends to Dha and then to Pa. Note the brisk movement (murki) (16-18) and the sustained Dha (20-24)
32-36: P D \G – typical movement indicative of Bilaval affiliation
45-53:Ni approached from Pa below with a touch of Sa. Note the brisk movement including Re and a touch of Dha for sustaining the Ni (50-52)
76: Ga is approached and sustained. Note a brief inclusion of Ma (84) and concluding – G R S with a very short Re
94-109: Ga approached again, this time with a typical phrase – DNSR G m G -. The movement returns to Sa in a similar manner as above with – G R S with a very short Re
114-123: A characteristic phrase for approaching Ga – D \P / G
129-135: Once more Ga is sustained and returned to Sa. Note an ornament (murki) at the onset of the phrase
142-152: Pa is approached
156-173: Dha is included to support Pa. Note the glide D \G (164-166), followed by a phrase reaching lower Dha to create a contrast (169-170) and back again to Ga
174-179: Return to Sa. Note a similarity with the movement at 129-135
180-186: Again the typical movement -D \P / G, this time preceded by Sa
188-196: Pa is in focus again
198-200: Oscillations on Dha
201-206: D \G -. Note a touch of Re which is clearly heard for the sustained Ga (203)
210-225: Middle Ni is sustained and the phrase ending with P D \G
241-254: High Sa is reached
257-259: S -DP m G, a characteristic descent from high Sa
295: Composition begins. Note the refrain including a characteristic phrase -D \P /G and the accentuated beat (sam) of the 12-beat cycle coinciding with Ga
384: First line again
422-464: Improvisation using words of the composition (bol alap)
466: Second part of the composition (antara)
531: Improvisation using words of the composition (bol alap). Note the emphasis on Ga and the glide P /G