Bhimpalasi

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Bhimpalasi is a Hindustani classical raga.

Theory[edit]

Aaroha and Avaroha[edit]

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

  • Aaroha:: Nee Saa Ga Ma Pa Nee Saa"
  • Avaroha: 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[edit]

Pakad or Chalan[edit]

(Bandish) Sthayii and Antaraa[edit]

Sthayii:: jaa, jaa re apane mandiravaa suna paave mori saasa-nanadiyaa

Antaraa:: suna ho sadaaranga, tuma ko chaata he kaa tuma hamako thagana diyaa

Organization and relationships[edit]

Related ragas:

Behavior[edit]

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)[edit]

  • Samay: Afternoon
  • DIN KA TISRA PRAHR
  • Din ka teesra pehar

Historical information[edit]

Important recordings[edit]

Pt. Jasraj- "Ja Ja Re Apne Mandirva"

See also[edit]

References[edit]

  • Bor, Joep (c. 1997), The Raga Guide, Charlottesville, Virginia: Nimbus Records, archived from the original on 2009-07-15 
  • Gosvami, O. (1957), The Story Of Indian Music, Bombay: Asia Publishing House 

External links[edit]