Bhimpalasi

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"

See also

List of film songs based on ragas

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

• SAWF Article on Bhimpalasi and related raags
• ITC-SRA on Bhimpalasi
• SRA on Samay and Ragas
• SRA on Ragas and Thaats
• Rajan Parrikar on Ragas
• Film songs in Bhimpalasi
• More details about raga Bhimpalasi