Which one of the following Carnatic music ragas is similar to Raga Bilawal in Hindustani music?

  • Nat Bhairavi
  • Kamavardhini
  • Hanumatodi
  • Dheera Shankarabharanam

Answer: (d) Dheera Shankarabharanam

  • Option (d) is correct: Raga Bilawal is the basic “Shuddha Thaat” (all natural/pure notes) scale in Hindustani music, matching the major scale in Western music. Its direct equivalent in the Carnatic system is Dheera Shankarabharanam, which serves as the foundational major scale for south Indian classical training.
  • Option (a) is incorrect: Nat Bhairavi is the equivalent of the Hindustani Asavari Thaat (Natural Minor scale, featuring komal ga, dha, and ni).
  • Option (b) is incorrect: Kamavardhini (also known as Pantuvarali) corresponds to the Hindustani Purvi Thaat (characterized by a komal re, komal dha, and t तीव्र Ma).
  • Option (c) is incorrect: Hanumatodi is the equivalent of the Hindustani Bhairavi Thaat (where all four notes—re, ga, dha, ni—are flat/komal).

The Concept of Scale Equivalence in Indian Classical Music

  • The Inter-System Axis: While Hindustani classical music operates on the Thaat system (10 fundamental scales introduced by Pandit Vishnu Narayan Bhatkhande), Carnatic classical music uses the highly mathematical Melakarta system (72 parental scales formalized by Venkatamakhin).
  • The Shudha Svara Parity: Raga Bilawal is the fundamental Shudha Svara scale of Hindustani music, where all seven notes are natural (Shuddha). Its direct structural equivalent in Carnatic music is Dheera Shankarabharanam, which likewise employs entirely natural, major notes. This Western musical equivalent is the standard Major Scale (C Major).

Comparative Mapping of Major Hindustani Thaats and Carnatic Melakarta Ragas

Hindustani Thaat / RagaCarnatic Melakarta EquivalentStructural Note Composition / Key Scale Feature
BilawalDheera ShankarabharanamAll Shuddha Notes: The fundamental natural major scale of both systems.
BhairaviHanumatodiAll four flat notes (Komal Re, Ga, Dha, Ni) + Shuddha Ma.
AsavariNatabhairaviThree flat notes (Komal Ga, Dha, Ni) + Shuddha Re, Ma. Corresponds to Western Natural Minor.
KalyanMecha KalyaniSharp Madhyam (Teevra Ma) + all other notes Shuddha.
KafiKharaharapriyaFlat Gandhar and Nishad (Komal Ga, Ni) + all others Shuddha.
BhairavMayamalavagowlaKomal Re and Komal Dha + all others Shuddha. Standard beginner scale in Carnatic music.
TodiShubhapantuvaraliKomal Re, Ga, Dha + Teevra Ma. (Note: Carnatic Hanumatodi matches Hindustani Bhairavi).
PurviKamavardhiniKomal Re, Komal Dha, Teevra Ma, Shuddha Ga, Shuddha Ni.

Structural Breakdown of the Specific Raga Options

(a) Natabhairavi (Equivalent to Thaat Asavari)

  • The Notes: Utilizes Shuddha Rishabha, Komal Gandhara, Shuddha Madhyama, Shuddha Panchama, Komal Dhaivata, and Komal Nishada.
  • Significance: It is the 20th Melakarta raga. It yields several popular derived ragas (Janya ragas) like Bhairavi (Carnatic version), Anandabhairavi, and Saramati.

(b) Kamavardhini (Equivalent to Thaat Purvi / Raga Purbi)

  • The Notes: It is the 51st Melakarta raga, traditionally also called Pantuvarali by the Dikshitar school.
  • Significance: Features a highly distinct structure with flat Rishabha, sharp Madhyama, and natural Nishada, producing a deeply meditative and solemn evening atmosphere.

(c) Hanumatodi (Equivalent to Thaat Bhairavi)

  • The Notes: It is the 8th Melakarta raga.
  • The Trap: Do not confuse Carnatic Hanumatodi with Hindustani Raga Todi. Hanumatodi uses the exact note intervals of the Hindustani Bhairavi scale (all flat notes except Sa and Pa). It is considered one of the major baseline ragas for complex improvisation in Carnatic music concerts.

(d) Dheera Shankarabharanam (Equivalent to Thaat Bilawal)

  • The Notes: It is the 29th Melakarta raga.
  • Significance: As shown in historical notations, its ascent (Arohana) and descent (Avarohana) follow a straight, symmetric seven-note structure: S R2 ​G3​ M1 P D2​ N3 S and back.
    • S (Shadjam)
      R2 (Chatusruti Rishabham)
      G3 (Antara Gandharam)
      M1 (Suddha Madhyamam)
      P (Panchamam)
      D2 (Chatusruti Dhaivatam)
      N3 (Kakali Nishadam)
  • It forms the melodic core for numerous monumental compositions by the Trinity of Carnatic Music (Tyagaraja, Muthuswami Dikshitar, and Syama Sastri).