A raga that radiates joy and brightness, Bilahari derives its notes from the Sankarabharanam scale (equivalent to C Major). Introduced to students at the intermediate level through the Swarajati Rara Venugopabala, it is a Sampurna Raga (contains all seven notes) and is far more nuanced than its cheerful exterior might suggest. Beneath its vibrant surface lie several subtle and intriguing features.

One such feature is the occurrence of the phrase DNS in the arohana krama, which challenges the rigid modern interpretation of the raga based solely on its conventional arohana–avarohana structure: SRGPDS – SNDPMGRS. The appearance of Nishadha in ascent lends the raga a distinct tonal colour, creating an entirely different aesthetic flavour. This is beautifully illustrated in the charanam line of Inta Chowka, the varnam composed by Sri Veena Kuppaiyer.

Another striking feature of Bilahari is the presence of both types of Nishadha. While the raga maintains a strong and recognisable identity with the Kakali Nishadha, the subtle introduction of the Kaisiki Nishadha adds a gentle softness and emotional depth. Many composers have skillfully employed this shade. For instance, in the line “Kamithaphaladayaki”from the charanam of Dorakuna (Tyagaraja), the phrase ‘D,NDP,DPM,PMMMGR’ incorporates the Kaisiki Nishadha to exquisite effect, enhancing both the musical and lyrical meaning.

The Carnatic repertoire abounds with compositions in Bilahari by great composers such as Sri Tyagaraja, Sri Muthuswami Dikshitar, Sri Papanasam Sivan and Sri Mazhavai Chidambara Bharati, among others. Some well-known compositions include Dorakuna Ituvanti Seva (Tyagaraja), Sri Balasubrahmanya (Dikshitar), Sarvesha (Papanasam Sivan), Paridanamichite (Patnam Subramanya Iyer), Paripovalara (Sri Pattabhiramayya) and Ma Mayura Meedil Eri Va(Mazhavai Chidambara Bharati).

Ma Mayura Meedil Eri Va is a personal favourite, its melody vividly evoking the graceful dance of a peacock. Sarvesha, on the other hand, is a deeply moving composition in which the composer pleads with the Lord of Thirumayilai, expressing humility and longing in poignant tones.

Viduthalai, composed by Mahakavi Subrahmanyam Bharati, is another inspiring piece in this raga. In it, the poet articulates his vision of a free and equal India. Each of the three charanams reflects a different dimension of equality — social, economic and gender — making the song as relevant today as it was when it was written.

Though relatively rare in film music, Bilahari has been employed across a surprisingly wide spectrum, from devotional pieces to lively Gaana songs. Orumaiyudan (a Tiru Arutpa of Vallalar) was rendered as a virutham in Bilahari in the film Konjum Salangai (1962), sung beautifully by Soolamangalam Rajalakshmi. Thalaivar Thavapudalva, set to music by Kunnakudi Vaidyanathan and sung by M. R. Vijaya in the film Agathiyar (1972), appears in a Bharatanatyam sequence and showcases the raga’s classical vitality.

A particularly striking and unadulterated use of Bilahari in cinema is found in Ilaiyaraaja’s Maman Oodu Machu Oodu, sung by Malaysia Vasudevan in Ellam Inba Mayam (1981). This spirited Gaana number incorporates phrases reminiscent of Rara Venugopabala, demonstrating how the raga can effortlessly transition from the concert platform to popular culture without losing its identity.

In essence, “sprightly” is perhaps the most fitting word to describe Bilahari. Yet beneath its exuberance lies remarkable versatility. With its multiple shades and subtle inflections, it invites exploration and accommodates a wide range of moods — from joyous brilliance to tender introspection — making it a raga of enduring charm and depth.