Learn Afternoon Raag Pilu

Raag Pilu Specs:

Thaat: Kafi
Aarohi: 'NSGmP - NS'
Amrohi: S' nDP dPmg RS 'NS
Vadi: g
Samvadi: N
Pakard: 'N S g S, g m d P g S 'N S;
Time: 3 pm – 6 pm
Zaat: Audav – Sampuran


This is a devotional Raag, but not necessarily a serious one. You’ll find compositions that give it a very serious temperament, but can easily find a very happy go lucky kind of composition in Pilu. It’s one of those Raag that can be used for just about any kind of composition, or even a music style. It’s heavily used in Thumri, Qawwali, and Bhajan.

In it’s technique, it’s best to start with Komal Gandar g. Notice that it uses both Ga, Dha, and Ni. But it’ll help to know, that there are some patterns that many Ustad use with Pilu. They pair up Komal Ni with Shudh Dha, while also pairing up Shudh Ni with Komal Dha. Another thing is, there’s usually a meend when going from ga to Sa. It sort of touches Re in that transition.

I’ve not been able to substantiate any history based on my research. Although, it seems like this Raag was either created, or may have made a comeback during the Mughal Period. There’s simply a vast number of compositions that were created during that time, based on Thumri, and later on in Ghazal. One thing for certain is that just about everything about Pilu is in dispute. From the time of the Raag, to it’s Aroh/Avaroh. Many have therefore started calling it Misra Pilu. Which simply means Pandit Misra’s Pilu.


Ae Meri Zohra Jabeen

Badi Der Bhai Kab Loge Khabar

Banawari Re Jeene Ka Sahara Tera Naam

Chandan Ka Palna Resham Ki Dori

Dheere Se Aaja Ri Ankhiyan Mein

Jaiye Aap Kahan Jayenge by Tamal Chakraborty

Jhule Mein Pawan Ke

Kabhi Aar Kabhi Paar Laga Teere Nazar

Kaisa Jadoo Balam Tune Dara

Sawan Ki Aai Bahar

Comments

comments

Subscribe

Get updates about new music news and upcoming events

Email *