UPSC Prelims 2026Question 1Culture

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

Options

(a)Nat Bhairavi
(b)Kamavardhini
(c)Hanumatodi
(d)Dheera Shankarabharanam

Correct answer: d

Decision rule

Match ragas by swara structure: all shuddha swaras means the major-scale Melakarta; komal-heavy scales map to the minor-type and Todi-type Melakartas.

Explanation

Correct Answer

(d) Dheera Shankarabharanam

Explanation of the Correct Answer

Raga Bilawal in Hindustani classical music corresponds closely to Dheera Shankarabharanam in Carnatic music.
Both are based on the natural major scale, equivalent to the Ionian mode in Western music.
In Hindustani music, Bilawal thaat uses all shuddha swaras.
In Carnatic music, Dheera Shankarabharanam is the 29th Melakarta raga and also uses the same basic swara structure.

Scale pattern:

System	Raga	Swara Structure
Hindustani	Bilawal	Sa Re Ga Ma Pa Dha Ni Sa
Carnatic	Dheera Shankarabharanam	Sa Ri₂ Ga₃ Ma₁ Pa Dha₂ Ni₃ Sa

Thus, Bilawal and Dheera Shankarabharanam are structurally equivalent ragas in the Hindustani and Carnatic systems respectively.

Why Other Options Are Incorrect

Option	Carnatic Raga	Hindustani Equivalent / Nature	Verdict
(a) Nat Bhairavi	20th Melakarta raga	Similar to Asavari thaat	Incorrect
(b) Kamavardhini	51st Melakarta raga, also called Pantuvarali	Similar to Puriya Dhanashree / Purvi-type ragas	Incorrect
(c) Hanumatodi	8th Melakarta raga	Similar to Todi thaat	Incorrect
(d) Dheera Shankarabharanam	29th Melakarta raga	Similar to Bilawal thaat / Raga Bilawal	Correct

Relevant Supplementary Information

Major Hindustani–Carnatic Raga Equivalences

Hindustani Raga / Thaat	Carnatic Equivalent	Broad Swara Character
Bilawal	Dheera Shankarabharanam	All shuddha swaras / major scale
Bhairavi	Hanumatodi / Sindhu Bhairavi contextually	Komal swara-based
Asavari	Nat Bhairavi	Minor scale type
Kalyan / Yaman	Mecha Kalyani	Tivra Ma / Prati Madhyamam
Todi	Hanumatodi	Komal Re, Ga, Dha; tivra Ma equivalent character
Kafi	Kharaharapriya	Komal Ga and Ni equivalent
Bhairav	Mayamalavagowla	Serious morning raga character

Key Takeaways from the Table

Bilawal = Dheera Shankarabharanam is one of the most direct Hindustani–Carnatic correspondences.
Bilawal thaat in Hindustani and Dheera Shankarabharanam Melakarta in Carnatic both use the natural major scale.
Many Hindustani and Carnatic ragas are not perfectly identical, but they may be considered equivalent based on swaras and scale structure.

Context and Current Relevance

Such questions test the connection between Hindustani and Carnatic classical music traditions.
Raga equivalences are important because India has two major classical music systems with different terminologies but many shared melodic foundations.
Dheera Shankarabharanam remains a foundational Carnatic raga, just as Bilawal is foundational in Hindustani music.

Table: Hindustani Ragas / Thaats and Their Carnatic Equivalents

Hindustani Music	Carnatic Music Equivalent	Basic Swara Character	Remarks
Bilawal	Dheera Shankarabharanam	All shuddha swaras	Similar to the Western major scale
Yaman / Kalyan	Mecha Kalyani	Tivra Ma / Prati Madhyamam	One of the most important evening ragas
Bhairav	Mayamalavagowla	Komal Re and Komal Dha equivalent	Serious, devotional character
Kafi	Kharaharapriya	Komal Ga and Komal Ni equivalent	Often associated with folk and devotional music
Asavari	Natabhairavi	Komal Ga, Dha, Ni equivalent	Similar to natural minor scale
Todi	Hanumatodi	Komal Re, Ga, Dha with sharp Ma-type character	Important morning raga tradition
Bhairavi	Sindhu Bhairavi / Hanumatodi contextually	Multiple komal swaras	Exact equivalence depends on usage
Purvi / Puriya Dhanashree type	Kamavardhini / Pantuvarali	Prati Madhyamam with complex tonal structure	Intense and serious raga mood
Marwa	Gamanashrama	Re and Dha emphasis, no Pa in many usages	Exact equivalence is not always strict
Khamaj	Harikambhoji	Komal Ni in descent-type usage	Often used in lighter classical forms
Bageshri	Sriranjani / Abheri contextually	Komal Ga and Ni-based melodic feel	Approximate similarity, not exact
Malkauns	Hindolam	Pentatonic scale	Deep, meditative raga
Durga	Shuddha Saveri	Pentatonic scale	Bright and devotional character
Bhupali / Bhoop	Mohanam	Pentatonic major scale	Very common in both systems
Desh	Khamas / Desh-type Carnatic adaptations	Mixed swara usage	Popular patriotic and semi-classical raga
Miyan ki Malhar / Malhar family	Amritavarshini / Malhar adaptations	Rain-associated melodic tradition	Not a strict one-to-one equivalence

Table: Major Hindustani Thaats and Comparable Carnatic Melakarta Ragas

Hindustani Thaat	Carnatic Melakarta Equivalent	Carnatic Melakarta Number	Broad Character
Bilawal	Dheera Shankarabharanam	29	Natural major scale
Kalyan	Mecha Kalyani	65	Major scale with sharp Ma
Bhairav	Mayamalavagowla	15	Serious, austere, devotional
Kafi	Kharaharapriya	22	Soft, folk-like, devotional
Asavari	Natabhairavi	20	Natural minor-type character
Todi	Shubhapantuvarali / Hanumatodi contextually	45 / 8	Grave and complex
Bhairavi	Hanumatodi / Natabhairavi contextually	8 / 20	Komal swara-dominated
Marwa	Gamanashrama	53	Tense, serious
Purvi	Kamavardhini	51	Intense, serious
Khamaj	Harikambhoji	28	Graceful, lighter classical appeal

Key Takeaways

Point	Explanation
Bilawal = Dheera Shankarabharanam	This is the most important fact for the question. Both use the natural major scale.
Thaat and Melakarta are classification systems	Hindustani music uses thaats, while Carnatic music uses Melakarta ragas.
Equivalence is often structural, not always identical	Two ragas may share swaras but differ in ornamentation, phraseology, mood, and usage.
Pentatonic ragas have clearer parallels	Examples: Bhupali = Mohanam, Malkauns = Hindolam, Durga = Shuddha Saveri.
Some equivalences are approximate	Especially for ragas like Bhairavi, Desh, Malhar, and Bageshri.

Quick Memory Table

Remember This	Equivalent
Bilawal	Dheera Shankarabharanam
Yaman	Mecha Kalyani
Bhupali	Mohanam
Malkauns	Hindolam
Durga	Shuddha Saveri
Kafi	Kharaharapriya
Asavari	Natabhairavi
Khamaj	Harikambhoji
Bhairav	Mayamalavagowla
Purvi	Kamavardhini

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