• Demonstration On Raga : Bilawal

The Topic of Panditji's lecture is "Bislawal", the fundamental mode from which a plenitude of ragas have derived through the centuries. It was Panditji's firm conviction that Bilawal never evolved itsefl into an independent raga --- as a theme suitable for vocal or instrumental rendition. It was essentially a "thaat" from which emanated a rich variety of "janya" ragas like alhaiya Bilawal, Devgiri BIlawal, Kukubh Bilawal and a host of others.

And Panditji ecsues profound scholarship as he stresses his point of view. His argument is marked by incisive analysis, sound judgement and forthright advocacy, There is also in it the familiar the toric and ebullience of manner, too -- all of which wins the listners over to his side.

• Daiya Kahan Gailo - Raga : Alhaiya - Bilawal

Panditji's exposition of the raga Alhaiya Bilawal. It is a brilliant revelation of the diverse aspects of his consummate artistry: his crushing sonority of voice; his accurate intonation: his typical ardour and fervour; his natural expressiveness; his penchant for dramatisation; and, abov all, his power to move his listeners.

Alhaiya Bilawal is a celebrated morning melody with a complete scale (sampurna raga), The sixth (dha) is the dominant (vadi) note and third (ga) or the second (re) is the sub-dominant (samvadi) note. All the notes are natural (shuddha). But the raga also makes use of the flat seventh (komal nishad) in the descent (avaroha).