Bhimpalasi: Difference between revisions
Tag: categories removed |
Reverted good faith edits by Satyajay Mandal (talk): Revert the edit that took away categories and links. (TW) |
||
| Line 66: | Line 66: | ||
}} |
}} |
||
==External links== |
|||
Aaroha of Raag Bhimpalasi-णा्साज्ञामापाणार्सा |
|||
*[http://www.sawf.org/newedit/edit08062001/musicarts.asp SAWF Article on Bhimpalasi and related raags] |
|||
Avroha of Raag Bhimpalasi-र्साणाधापाधामापाज्ञामाज्ञारासा |
|||
*[http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_links/raga.asp?raga_id=65 ITC-SRA on Bhimpalasi] |
|||
*[http://www.itcsra.org/sra_others_samay_index.html SRA on Samay and Ragas] |
|||
*[http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_index.html SRA on Ragas and Thaats] |
|||
*[http://www.sawf.org/music/articles.asp?pn=Music Rajan Parrikar on Ragas] |
|||
*[http://chandrakantha.com/raga_raag/film_song_raga/bhimpalasi.shtml Film songs in Bhimpalasi] |
|||
[[Category:Hindustani music]] |
|||
[[Category:Ragas]] |
|||
[[ur:بھیم پلاس]] |
|||
Revision as of 12:17, 15 February 2012
 |
| This article is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic. (December 2007) |
| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
Bhimpalasi is a Hindustani classical raga.
Theory
Writing about the musical theory of Indian classical music is fraught with complications. First of all, there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim(knowledge).
Arohana and Avarohana
Notation: S r R g G M P d D n N S
Lower caps indicate 'komal' or flat notes, " indicates higher (third) octave, ' indicates lower (first) octave
The ga is komal ga (294 cents above Sa)[1])
Vadi and Samavadi
Pakad or Chalan
Organization and relationships
Related ragas:
- Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki
- Thaat: Kafi
- In Carnatic music, Abheri is the equivalent raga.
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
Historical information
Important recordings
Artists with recordings of Bhimpalasi: Ashwini Bhide Deshpande, Bismillah Khan, Ravi Shankar, Hariprasad Chaurasia, Bhimsen Joshi, Kumar Gandharva, Mallikarjun Mansur, Kishori Amonkar, Jitendra Abhisheki, Debashish Bhattacharya, Pandit Jasraj, Pandit Sanjeev Abhyankar
References
- ^ Gosvami(1957) p. 236 f.
- Bor, Joep (1997?), The Raga Guide, Charlottesville, Virginia: Nimbus Records
{{citation}}: Check date values in:|year=(help)CS1 maint: year (link) - Gosvami, O. (1957), The Story Of Indian Music, Bombay: Asia Publishing House