Bhimpalasi

Bhimpalasi
Thaat Kafi
Type Audava-sampurna
Time of day Early afternoon, 12–3
Arohana Ṉ̣ S G̱ M P Ṉ Ṡ
Avarohana Ṡ Ṉ D P M G̱ R S
Pakad Ṉ̣ S M ❟ M G̱ P M ❟ G̱ M G̱ R S
Vadi M
Samavadi S
Similar

Bhimpalasi is a Hindustani classical raga.

Theory

The raag has komal Ni and Ga. It is an Odhav-Sampoorna raga, implying that it has 5 notes in Arohana and 7 in Avarohana.

(Bandish) Sthayii and Antaraa

Sthayi: jaa, jaa re apane mandiravaa suna paave gi mora saas-nanadiyaa

Antara: sun ho sadaa-rang, tuma ko chaata hai kyu tum mujhse chalana kiyaa,jaa, jaa re

Organisation and relationships

Related ragas:

Behaviour

The madhyam (fourth) is the most important note - an important 'nyaas' sthaan (note for rest) with emphasized elaboration around this note - S g M, M g M, g M P, M P g M P (M) g (M) g M... The Rishabh (second) and the Dhaivat (sixth) are skipped in Aarohi (ascending) passages, but are given due importance when descending (Avrohi). Use of the Dhaivat and Rishabh is symmetric and both are approached via the succeeding notes (D from n, and R from g).g is taken with karn of m, n from sa. E.g.-g=mg and n=sn

See also

Notes

  1. ↑ Alternate notations:
    • Carnatic: Ṇ₂ S G₂ M₁ P N₂ Ṡ
    • Western: A# C D# F G A# C
  2. ↑ Alternate notations:
    • Carnatic: Ṡ N₂ D₂ P M₁ G₂ R₂ S
    • Western: C A# A G F D# D C
  3. ↑ Alternate notations:
    • Carnatic: Ṇ₂ S M₁ ❟ M₁ G₂ P M₁ ❟ G₂ M₁ G₂ R₂ S
    • Western: A# C F 𝄒 F D# G F 𝄒 D# F D# D C

References

  1. 1 2 Bor & Rao 1999.
  2. 1 2 3 4 5 6 OEMI:BP.

Sources

  • Bor, Joep; Rao, Suvarnalata (1999). The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records with Rotterdam Conservatory of Music. p. 40. ISBN 9780954397609.
  • Bhimpalāsi Rāga (Hin), The Oxford Encyclopaedia of the Music of India. Oxford University Press. ISBN 9780195650983. Retrieved 12 October 2018. (Subscription required (help)).
  • Gosvami, O. (1957). The Story Of Indian Music. Bombay: Asia Publishing House.
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