Bhimpalasi

Hindustani classical music
Concepts
Shruti Swara Raga Tala Gharana Instruments
Genres
Dhrupad Dhamar Khyal Tarana Thumri Dadra Qawwali Ghazal
Thaats
Bilaval Khamaj Kafi Asavari Bhairav Bhairavi Todi Purvi Marwa Kalyan

Bhimpalasi is a Hindustani classical raga.

Theory

Arohana and Avarohana

Notation: S R g G M Ḿ P d D n N S

Lower caps indicate 'komal' or flat notes, " indicates higher (third) octave, ' indicates lower (first) octave

Arohana: Nee Saa Ga Ma Pa Nee Saa"
Avarohana: Saa Nee Dha Pa Ma Ga Re Saa

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

Vadi and Samavadi

Vadi: M (fourth)
Samavadi: S (first)

Pakad or Chalan

Pakad or Chalan: n' S M g M P M, M g R S

Organization and relationships

Related ragas:

Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki
Thaat: Kafi
In Carnatic music, Karnataka Devagandhari is the most similar raga, falling with Melakarta 22 (Karaharapriya).
BAGESHREE

Behavior

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).

Samay (Time)

Samay: Late Afternoon
DIN KA TISRA PRAHR

Historical information

Important recordings

Pt. Jasraj- "Ja Ja Re Apne Mandirva"

References

Bor, Joep (c. 1997), The Raga Guide, Charlottesville, Virginia: Nimbus Records
Gosvami, O. (1957), The Story Of Indian Music, Bombay: Asia Publishing House

External links

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