Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga.
| 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 |
Raga Bhimpalasi belongs to the Kafi Thaat.[1]
TheoryEdit
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 ExamplesEdit
A bandish is a composition in Hindustani classical music. Both of the following bandishes are examples of Bhimpalasi.
Bandish by Naimat Khan "Sadarang"Edit
| 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"Edit
The Bandish Initials(Bandish Name): "Gāo Bajāo Sab Mil Ātā Umaṅg So"
The Bandish is set in tāla Ektal[5]
Organisation and relationshipsEdit
Related/similar ragas:
- Bageshree, Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki
- In Carnatic music, Karnataka Devagandhari is the most similar raga, falling with Melakarta 22 (Karaharapriya).
BehaviourEdit
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[d].
Film songsEdit
Language: TamilEdit
Note that the following songs are composed in Abheri, the equivalent of raga Bhimpalasi in Carnatic music.
See alsoEdit
NotesEdit
- ^ 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
ReferencesEdit
- ^ a b c d e f g h i j k "Raag Bheempalasi - Hindustani Classical Music". Tanarang.com. Retrieved 2022-08-25.
- ^ a b Bor & Rao 1999.
- ^ a b c d e f OEMI:BP.
- ^ "Tanarang". Retrieved 2023-05-05.
{{cite web}}: CS1 maint: url-status (link) - ^ 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.
SourcesEdit
- 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.