#### *Introduction (400 words)*

Raag Bilaskhani Todi is one of the most iconic and unique ragas in Hindustani classical music. It belongs to the bhairvi Thaat and is usually performed in the late morning hours (9 AM to 12 PM). Known for its serious, melancholic mood, Bilaskhani Todi beautifully blends a sense of devotion with pathos. Its intricate phrasing and delicate ornamentation make it a raga rich in emotional depth, often described as expressing feelings of longing and surrender.

*Origin of the Name*
The raga was created by Bilas Khan, the son of the legendary Miyan Tansen, in an intense moment of grief following Tansen’s death. According to historical accounts, Bilas Khan sang this raga at his father’s funeral, and it is said to have been an offering of profound sadness and devotion, reflecting both his grief and homage to his father.

Though associated with Todi, Raag Bilaskhani Todi departs from the traditional Todi scale in important ways, such as using both shuddha and komal notes, which makes it stand out.

#### *Historical Background (400 words)*

The creation of Raag Bilaskhani Todi is steeped in legend, history, and cultural significance. Bilas Khan, grieving the loss of his father, composed this raga spontaneously during the funeral rites. The intense emotions of sorrow and reverence that Bilas Khan experienced gave birth to a new melodic framework, distinct from the pre-existing Raag Todi.

Interestingly, while Todi itself is a very old raga that can be traced back to the times of ancient Indian music, Bilaskhani Todi’s emergence marked a crucial point in the evolution of Hindustani music. Its creation was driven not by academic or theoretical considerations, but by an emotional, almost instinctive expression of grief, a fact that has fascinated musicians and scholars alike.

Musically, Raag Bilaskhani Todi has gradually evolved. It has been passed down through generations of musicians, with each gharana interpreting and contributing their own nuances to the raga. While the Gwalior, Agra, and Kirana Gharanas each have their own take on Bilaskhani Todi, it remains firmly rooted in its original emotional essence.

#### *Theoretical Structure (500 words)*

##### *Thaat: Bhairvi*
Although Bilaskhani Todi belongs to the bhairavi Thaat, it differs significantly in terms of note usage.

##### *Aroha (Ascending):*
Ni Re Ga Ma Pa (Tivra) Dha Ni Sa
(The use of Tivra Ma in the ascending movement provides a dramatic tension.)

##### *Avaroha (Descending):*
Sa' Ni Dha Pa Ma Ga re Sa
(The descent introduces the komal Ga and Re, distinguishing it from other Todi variants.)

##### *Vadi (Most Important Note):* Dha
The Vadi, or the most emphasized note, is Dha. This note forms the emotional and melodic anchor of the raga.

##### *Samvadi (Second Important Note):* Ga
Ga is the Samvadi, and its role is to balance the melodic structure, giving the raga its characteristic melancholy.

##### *Komal and Tivra Notes*
Raag Bilaskhani Todi uses both Komal (flat) and Tivra (sharp) notes. Komal Dha, Ga, and Re, along with Tivra Ma, make the raga intricate yet deeply moving.

*Key Features*
1. The raga is sung in the late morning.
2. Both shuddha and komal swaras are used, which gives it a unique and somewhat contrasting feel.
3. Meends (glides) are heavily employed to create the emotional mood of the raga.
4. There is a notable absence of strong Todi-like movements, and this gives the raga a more somber character.

#### *Emotional Landscape (Rasa) (400 words)*

Raag Bilaskhani Todi is often said to evoke karuna rasa, which signifies pathos or compassion. It’s a raga that expresses deep melancholy, with a touch of devotion and surrender. These emotions are especially potent because of the historical association with the grief of Bilas Khan, who composed this raga at his father’s funeral.

Yet, the beauty of this raga lies in its ability to blend sadness with spirituality. It’s not just about grief but also about reaching a higher spiritual state through the acceptance of loss. This emotional layering makes Bilaskhani Todi a favorite among musicians who want to explore the more somber, reflective moods in their performances.

As the raga develops through its alap (introductory, unmetered section), the mood deepens. The use of slow meends from Sa to Ga, or Ga to Dha, allows the artist to meditate on each note, bringing out the full emotional weight. In drut (fast-paced) compositions, the emotional intensity often shifts, but the inherent melancholy never truly disappears.

#### *Performance Practice (600 words)*

In live performance, Raag Bilaskhani Todi offers musicians a wide canvas to express emotion through both alap and bandish (compositions). Most renditions of the raga start with a slow alap, where the artist has the freedom to explore the raga's notes in a non-rhythmic, fluid manner.