| Thaat | Kafi[1] |
|---|---|
| Type | Audava-sampurna |
| Time of day | Early afternoon, 12–3[1] |
| Pakad | Ṉ̣ S M ❟ M G̱ P M ❟ G̱ M G̱ R S |
| Vadi | M̄[1] |
| Samavadi | S[1] |
| Similar |
| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga.
Raga Bhimpalasi belongs to the Kafi Thaat.[1]
Theory
- Aarohana: Ṉ̣ S G̱ M P Ṉ Ṡ[lower-alpha 1][2][3][1]
- Avaroha: Ṡ Ṉ D P M G̱ R S[lower-alpha 2][2][3][1]
The raga has komal Ni and Ga. Rishabh (second) and dhaivat (sixth) are skipped in āroha (ascending) passages, but are given due importance when descending (avroha). Since the scale has 5 notes ascending and all 7 descending, the resulting jāti is Audav–Sampūrṇa.[1] It is performed in the early afternoon, from 12:00 P.M. to 3:00 P.M. (the third prahar of the day).[4]
Use of dhaivat and rishabh is symmetrical in that both are approached via the succeeding notes (D from Ṉ, and R from G̱).G̱ is sung with a kaṇ-svara (grace note) of M. Similarly, Ṉ is sung with a kaṇ-svara from S.
Bandish Examples
A bandish is a composition in Hindustani classical music. Both of the following bandishes are examples of Bhimpalasi.
Bandish by Naimat Khan "Sadarang"
| Sthāyi | Antara: | ||
|---|---|---|---|
| Devanāgarī | IAST | Devanāgarī | IAST |
| जा जा रे अपने मन्दिरवा ।
सुन पावे गि (मोरि) सासनन दिया ॥ |
jā, jā re apane mandiravā
suna pāve gi (mori) sāsanana diyā |
सुन हो सदारंग तुमको चाहत है ।
क्या तुम हमको चलन किया ॥ (or, क्या तुम हमको ठगन दिया ॥) जा जा रे... |
suna ho Sadāraṅg, tumako cāhata hai
kyā tuma hamako calana kiyā (or, kyā tuma hamako ṭhagana diyā) jā, jā re (repeat the sthāyi) |
This bandish is set in Teental. Pandit Jasraj is known for having sung this particular bandish; it is also in the repertoire of Sanjeev Abhyankar.
Prominent Bandish(Composition) by Acharya Dr. Pandit Gokulotsavji Maharaj "MadhurPiya"
The Bandish Initials(Bandish Name): "Gāo Bajāo Sab Mil Ātā Umaṅg So"
Organisation and relationships
Related/similar ragas:
- Bageshree, Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki
- In Carnatic music, Karnataka Devagandhari is the most similar raga, falling with Melakarta 22 (Karaharapriya).
Behaviour
The madhyam (fourth) is the most important note. It is also a nyāsa-svara (resting note) with emphasized elaboration around this note - S G̱ M ❟ M G̱ M ❟ G̱ M P ❟ M P G̱ M P ( M ) G̱ ( M ) G̱ M[lower-alpha 4].
Film songs
Language: Hindi
Language: Tamil
Note that the following songs are composed in Abheri, the equivalent of raga Bhimpalasi in Carnatic music.
See also
Notes
- ↑ Alternate notations:
- Carnatic: Ṇ₂ S G₂ M₁ P N₂ Ṡ
- Western: B♭ C E♭ F G B♭ C
- ↑ Alternate notations:
- Carnatic: Ṡ N₂ D₂ P M₁ G₂ R₂ S
- Western: C B♭ A G F E♭ D C
- ↑ Alternate notations:
- Carnatic: Ṇ₂ S M₁ ❟ M₁ G₂ P M₁ ❟ G₂ M₁ G₂ R₂ S
- Western: B♭ C F 𝄒 F E♭ G F 𝄒 E♭ F E♭ D C
- ↑ Alternate notations:
- Carnatic: S G₂ M₁ ❟ M₁ G₂ M₁ ❟ G₂ M₁ P ❟ M₁ P G₂ M₁ P M₁ G₂ M₁ G₂ M₁
- Western: C E♭ F 𝄒 F E♭ F 𝄒 E♭ F G 𝄒 F G E♭ F G F E♭ F E♭ F
References
- 1 2 3 4 5 6 7 8 9 10 11 "Raag Bheempalasi - Hindustani Classical Music". Tanarang.com. Retrieved 2022-08-25.
- 1 2 Bor & Rao 1999.
- 1 2 3 4 5 6 OEMI:BP.
- ↑ "Tanarang". Retrieved 2023-05-05.
- ↑ Mathur, Dr Neeta (2011). Shashtriya Sangeet Ke Surya Acharya Pandit Dr Gokulotsavji Maharaj. New Delhi: Radha Publication. p. 88. ISBN 978-81-7487-765-9.
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.
- Gosvami, O. (1957). The Story Of Indian Music. Bombay: Asia Publishing House.