Bhimpalasi Raag is believed to have originated from Kaphi thaat. In this raag Ga(k) & Ni(k) are used as komal swar and all the swars are used as shudha .Re & Dha are not used in aaroh and all the seven swars are used in the avaroh. Its jati is Audav -Sampurn. In this raag Ma & Sa are Vadi & Samvadi swar .The singing time of this raag is 12 pm to 3 pm (the third part of the day).
Bhimpalasi Raag
How To Read Sargam Notes –
- “.” is used for Mandra saptak(Lower octave notes) swars.eg- .Pa
- “*” is user for Taar Saptak (Higher Octave notes) Swars eg – Pa*
- “(k)” small character is used for komal swars.eg – ( Re(k) , Ga(k) , Dha(k) , Ni(k) )
- Ma(t) here “(t)” is used for showing teevra swar Ma(t) .
- “-” is used for Holdong the notes according to the Song.
- Swars written “ReGa” in this manner means they are playing fast or two swars on one beat.
- Ma(Ga) or (Ga)Ma Here Ga is Kan Swar or Sparsh Swar and Ma is Mool Swar. (You Can skip the kan swar if not understand how to play)
- Swars written [ Ni(k) Pa ] in this manner they are playing or singing in sliding mode means Meend acc to Indian music .
- { NiSa*Re*Sa* Ni } here this braket {} is used for showing Khatka in which swars are playing fast .
Description of raag:-
Aaroh – .Ni(k) Sa Ga(k) Ma, Pa, Ni(k)Sa*.
Avaroh – Sa* Ni(k) Dha Pa, Ma Pa Ga(k) Ma, Ga(k)Re Sa.
Pakad – .Ni(k) Sa Ma, Ma Pa Ga(k) Ma, Ga(k) Re Sa.
Thaat – Kaphi thaat
Varjit swar – Re and Dha
Vadi – Samvadi swar- Ma and Sa.
Jati – Audav -Sampurn
Singing time -12 pm to 3 pm (the third part of the day).
Important Notes:-
1.The association of Sa Ma and Pa ga is show again and again in this raag.
2.Mostly Sa is used with ni and Ma is used with ga with meend.
3.Bada khyal, dhrupad, dhamar, chhota khyal, tarana etc sang in this.
4.Some singer used shudh ni in this. But remember it’s use is not necessary. Precautions is need during its use otherwise shadow of patdip raag will come.
5.Raag patdip is created from use of shudh ni at place of soft ni in bheempalasi raag.
Swar of nyas – Sa, Ga(k), Pa and Ma.
Isotype raag – Bageshwari
Bheempalasi – Sa, .Ni(k)Sa Ma, Ma Pa. Ga Ma, Ga(k) Re Sa.
Bageshwari – Sa .Dha .Ni(k) Sa Ma, Ga(k) Ma Dha, Ma Pa Dha Ga(k), Ma Ga(k) Re Sa.
Bandish –
Sthai –
Koyal bole ambuaa ki daar
Pancham sur mein baar baar
Stanza –
Van van vikshit kaliyan kaliyan
Kusum kusum per mast madhup gan
Ritu basant ki chaayi bahaar
Notation
Sthai –
Ko – y al / bo – le – / am bu aa ki / da – – ar
Ga(k)Ma PaNi(k) Dha Pa / Ga(k)Ma PaMa Ga(k)Re Sa / .Ni(k) Sa Ga(k) Ma / Pa – – –
Pa n ch am / su r mein – / ba – – ar / ba – – ar
Pa Ni(k) Pa Ni(k) / Sa* Ni(k) Sa* – / PaNi(k) Sa*Ni(k) Dha Pa / Ga(k)Ma PaMa Ga(k)Re Sa
Antara –
Va n va n / vi kshi t / ka li ya n / ka li ya n
Pa Pa Pa Pa / Ma Pa Ga(k) Ma / Pa Ni(k) Pa Ni(k) / Sa* Ni(k) Sa* Sa*
Ku su m ku / su m pe r / ma – st ma / dhu p Ga n
Ni(k) Ni(k) Ni(k) Pa / Ni(k) Sa* Sa* Sa* / Ni(k) Sa*Re* Sa* Re / Ni(k) Ni(k)Dha DhaPa Pa
Ri tu ba san / – t ki – / cha a yi ba / – – ha ar
Ni(k) Ni(k) Ni(k) PaMa / – Pa Ga(k) Ma / Pa Ni(k) Sa*Re* / Sa*Ni(k) DhaPa MaGa(k) ReSa
8 Matras Allap –
Koyal bole – .Ni(k) Sa- – / Ga(k) ReSa–
Koyal bole – .Ni(k) SaGa(k) Ma / Ga(k) ReSa-
Koyal bole – Sa- .Ni(k) Sa/ Ga(k) ReSa–
Koyal bole – Ga(k) Ma – – / Ga(k) ReSa–
Koyal bole – .Ni(k) SaMa – / Ga(k) ReSa–
Koyal bole – Pa Ga(k) – Ma / Ga(k) ReSa–
Koyal bole – Ga(k) Ma Pa Ni(k) / DhaPa – –
16 Matras Allaap
Koyal bole ambuaa ki daar
.Ni(k) Sa Ga(k) Ma / Pa – – – / Pa Ga(k) – Ma / Ga(k) Re Sa–
.Ni(k) Sa Ga(k) Ma / Pa Ni(k) Sa* – / Sa* Ni(k) Dha Pa / Ma Ga(k) Re Sa
.Ni(k) Sa Ga(k) Ma / – Ga(k) Re Sa/ Pa Ga(k) – Ma / Ga(k) Re Sa-
Ga(k) Ma Pa Ni(k) / Dha – Pa – / Sa* Ni(k) Dha Pa / Ma Ga(k) Re Sa
Ga(k) Ma Pa Ni(k) / Sa* – – – / Sa* Ni(k) Dha Pa / Ma Ga(k) Re Sa
.Ni(k) Sa Ga(k) Ma / – Ga(k) Ma – / Ga(k) Ma Pa Ma / Ga(k) Re Sa –
.Ni(k) Sa Ga(k) Ma / Pa Ni(k) Sa* – / Pa Ni(k) Sa* Ga(k)* / Re* Re* Sa* –
Van van vikshit kaliyan kaliyan
Sa* – – – / Sa* Ni(k) DhaPa / Ma Ga(k) ReSa / Ni(k)SaGa(k)Ma PaNi(k) Sa*-
Sa* – Ni(k) Sa* / Pa Ni(k) Sa* – / Sa* Ni(k) DhaPa / Ga(k)Ma PaNi(k) Sa* –
8 Matras Taan
Koyal bole – .Ni(k)Sa Ga(k)Ma PaMa Ga(k)Ma / PaMa Ga(k)Ma Ga(k)Re Sa-
Koyal bole – .Ni(k)Sa Ga(k)Ma PaNi(k) Sa*- / Sa*Ni(k) DhaPa MaGa(k) ReSa
Koyal bole – Ga(k)Ma PaMa Ga(k)Ma PaMa / Ga(k)Ma PaMa Ga(k)Re Sa-
Koyal bole – Ga(k)Ma PaMa Ga(k)Ma PaNi(k) / Sa*Ni(k) DhaPa MaGa(k) ReSa
Koyal bole – Ga(k)Ma PaNi(k) Sa*Ga(k)* Re*Sa* / Sa*Ni(k) DhaPa MaGa(k) ReSa
Koyal bole – PaMa Ga(k)Ma Ga(k)Re Sa- / .Ni(k)Sa Ga(k)Ma PaNi(k) Sa*-
16 Matras Taan –
Koyal bole ambuaa ki daar
.Ni(k)Sa Ga(k)Ma PaNi(k) Sa*- / Sa*Ni(k) DhaPa MaGa(k) ReSa /. Ni(k)Sa Ga(k)Ma PaNi(k) Sa*- / Ni(k)Ni(k) DhaPa MaGa(k) ReSa
.Ni(k)Sa Ga(k)Ga(k) SaGa(k) MaMa / Ga(k)Ma PaPa MaPa Ni(k)Ni(k) / PaNi(k) Sa*Sa* PaNi(k) Sa*Sa* / Sa*Ni(k) DhaPa MaGa(k) ReSa
Ga(k)Ma PaMa Ga(k)Ma PaMa / Ga(k)Ma PaMa Ga(k)ReSa- / .Ni(k)SaGa(k)Ma PaNi(k) Sa*- / Sa*Ni(k) DhaPa MaGa(k) ReSa
.Ni(k)Sa Ga(k).Ni(k) SaGa(k) .Ni(k)Sa / Ga(k)Ma PaGa(k) MaPa Ga(k)Ma / PaNi(k) Sa*Pa Ni(k)Sa* PaNi(k) / Sa*Ni(k) DhaPa MaGa(k) ReSa
.Ni(k)Sa Ga(k)Ma PaMa Ga(k)Ma / PaMa Ga(k)Ma Ga(k)ReSa– / Ga(k)Ma PaNi(k) Sa*Ni(k) DhaPa / Ga(k)Ma PaMa Ga(k)Re Sa-
.Ni(k)Sa .Ni(k)Sa .Ni(k)Sa ReSa / .Ni(k)Sa Ga(k)Ma Ga(k)Re Sa- / .Ni(k)Sa Ga(k)Ma PaMa Ga(k)Ma / PaMa Ga(k)Ma Ga(k)ReSa-
Ga(k)Ma PaMa Ga(k)Ma PaMa / Ga(k)Ma PaNi(k) Sa*Ni(k) DhaPa / Ga(k)Ma PaNi(k) Sa*Ga(k)* Re*Sa* / Sa*Ni(k) DhaPa MaGa(k) ReSa
PaNi(k) Sa*Pa Ni(k)Sa* PaNi(k) / Sa*Ni(k) DhaPa MaGa(k) ReSa / Ni(k)Sa Ga(k)Ma PaNi(k) Sa*- / Ni(k)Sa* Ga(k)Ma PaNi(k) Sa*-
PaNi(k) Sa*Ga(k) ReSa Ni(k)Sa* / Ni(k)Sa* Re*Sa* Ni(k)Dha PaMa / Ga(k)Ma PaNi(k) Sa*Ni(k) DhaPa / Ni(k)Ni(k) DhaPa MaGa(k) ReSa
Bhimpalasi Raag question answer-
What are the Aaroh, Avaroh & Pakad of Bhimpalasi Raag?
Aaroh – .Ni(k) Sa Ga(k) Ma, Pa, Ni(k)Sa*.
Avaroh – Sa* Ni(k) Dha Pa, Ma Pa Ga(k) Ma, Ga(k)Re Sa.
Pakad – .Ni(k) Sa Ma, Ma Pa Ga(k) Ma, Ga(k) Re Sa.
What is the Jati of Bhimpalasi Raag ?
Jati – Audav -Sampurn
What is the singing time of Bhimpalasi Raag ?
Singing time -12 pm to 3 pm (the third part of the day).
Which swars are used in Bhimpalasi Raag ?
Aaroh – .Ni(k) Sa Ga(k) Ma, Pa, Ni(k)Sa*.
Avaroh – Sa* Ni(k) Dha Pa, Ma Pa Ga(k) Ma, Ga(k)Re Sa.
Pakad – .Ni(k) Sa Ma, Ma Pa Ga(k) Ma, Ga(k) Re Sa.
What are the Vadi- Samvadi Swar of Bhimpalasi Raag ?
Vadi – Samvadi swar- Ma and Sa.
What is the introduction of Bhimpalasi Raag ?
Bhimpalasi Raag is believed to have originated from Kaphi thaat. In this raag Ga(k) & Ni(k) are used as komal swar and all the swars are used as shudha .Re & Dha are not used in aaroh and all the seven swars are used in the avaroh. Its jati is Audav -Sampurn. In this raag Ma & Sa are Vadi & Samvadi swar .The singing time of this raag is 12 pm to 3 pm (the third part of the day).