The sound quality has been improved on this magnificent performance of Sitar Samrat Nikhil Banerjee at the Maharaja Gaekwad's Palace in Vadodara in 1981 with Tabla synergy provided by the great Anindo Chatterjee.
Bilaskhani Todi is an example of the flaws of the Bhatkhande thaat system, because it is classified under the Bhairavi thaat based on the notes it uses, but it is actually a type of Todi, and permitting any Bhairavi during a performance kills the raga[1].
Arohana & Avarohana
Arohana: Sa re ga Pa dha Sa
Avarohana: re ni dha Ma ga re Sa
Vadi & Samavadi
Vadi: dha
Samavadi: ga
Organization & Relationships
Thaat: Bhairavi
Bilaskhani Todi is among the very great ragas and to scrape its acquaintance is to come touchably close to the sublime in music. It is profoundly original in conception, a musical minefield difficult to tread. Its complexity is masked by the ready emotional purchase offered to the rasika. It is a meend-pradhana raga with a fund of nuance scarcely amenable to the written word. We shall nevertheless try to convey the vitals.
The basic aroha-avarohana set may be stated as:
S r g P d S”::S”, r” n d, P, d n d M g, r g r S
This does very little to illuminate the raga lakshanas. Although the swaras of Bilaskhani are drawn from the Bhairavi that its structure is wholly defined and fortified by raganga Todi. Care must be observed to stay clear of Bhairavi’s demesne for any misstep will spell instant ruin for Bilaskhani. (words of Rajan Parrikar).
Todi Songs:
Vani Jairam: eri main to prem diwani.
Lata Mangeshkar: raina beeti jaye.
Lata Mageshkar nanda nandana.