Bhimpalasi

Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga.

Raga Bhimpalasi is belongs to the Kafi Thaat.^[7]

Theory[]

• Aarohana: Ṉ̣ S G̱ M P Ṉ Ṡ^{[a][8][9][10]}
• Avaroha: Ṡ Ṉ D P M G̱ R S^{[b][8][9][11]}

The raag has komal Ni and Ga. It is an Audava-Sampoorna jati raga, implying that it has 5 notes in Arohana and 7 in Avarohana.^[12]

• Vadi Swar: M^[9][13]
• Samavadi Swar: S^[9][14]
• Thaat: Kafi^[9][15]
• Pakad or Chalan: Ṉ̣ S M ❟ M G̱ P M ❟ G̱ M G̱ R S^[c][9]

Prominent Bandish(Composition) by Niyamat Khan 'Sadarang'[]

Sthayi:

Jaa, jaa re apane mandiravaa

Suna paave gi (mori) saas-nanadiyaa

Antara:

Suna ho sadaa-rang, tuma ko chaahata hay

kya tum hamako chalana kiyaa, (or kya tum hamako Thagana diya)

Jaa, jaa re

Prominent Bandish(Composition) by Acharya Dr. Pandit Gokulotsavji Maharaj "MadhurPiya"[]

The Bandish Initials(Bandish Name): "Gaao Bajao Sab Mil Ata Umang So"

The Bandish is set in taal EkTaal^[16]

Organisation and relationships[]

Related/similar ragas:

• Bageshree, Dhanashree, Dhani, Patdeep, ,
• In Carnatic music, Karnataka Devagandhari is the most similar raga, falling with Melakarta 22 (Karaharapriya).

Behaviour[]

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). Such property of the raga gives it Audava-Sampoorna jati.

Use of the dhaivat and rishabh is symmetric and both are approached via the succeeding notes (D from n, and R from g).g is taken with karn of m, n from sa. E.g.-g=mg and n=sn

Film songs[]

Language: Tamil[]

Note that the following songs are composed in Abheri, the equivalent of raga Bhimpalasi in Carnatic music.

See also[]

• List of film songs based on ragas

Notes[]