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]
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.
A bandish is a composition in Hindustani classical music. Both of the following bandishes are examples of Bhimpalasi.
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.
The Bandish Initials(Bandish Name): "Gāo Bajāo Sab Mil Ātā Umaṅg So"
The Bandish is set in tāla Ektal [5]
Related/similar ragas:
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].
Note that the following songs are composed in Abheri, the equivalent of raga Bhimpalasi in Carnatic music.
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]
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.
A bandish is a composition in Hindustani classical music. Both of the following bandishes are examples of Bhimpalasi.
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.
The Bandish Initials(Bandish Name): "Gāo Bajāo Sab Mil Ātā Umaṅg So"
The Bandish is set in tāla Ektal [5]
Related/similar ragas:
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].
Note that the following songs are composed in Abheri, the equivalent of raga Bhimpalasi in Carnatic music.