| 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 joint raga or “jor raga” it's a mixture of raga "bhim(Bheem) also known as raga gavti" and raga "palasi or palas" , where raga bhim is a creation of babaAllauddin Khan (founder of rampur maihar seniya gharana) and raga palasi is a traditional 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].
| Song | Movie | Year | Composer | Lyricist | Singer |
|---|---|---|---|---|---|
| "Aa Neele Gagan Tale" | Badshah | 1954 | Shankar–Jaikishan | Hasrat Jaipuri | Lata Mangeshkar, Hemant Kumar |
| "Maasoom Chehera" | Dil Tera Diwana | 1962 | Shankar–Jaikishan | Hasrat Jaipuri | Lata Mangeshkar, Mohammed Rafi |
| "Naino Me Badra Chhaaye" | Mera Saaya | 1966 | Madan Mohan | Raja Mehdi Ali Khan | Lata Mangeshkar |
| "Khilte Hai Gul Yahan" | Sharmeelee | 1971 | S. D. Burman | Neeraj | Two versions: one by Kishore Kumar, one by Lata Mangeshkar |
| "Hum Katha Sunate" (Luv Kush Title Track) | Luv Kush (TV Series) | 1988-89 | Ravindra Jain | Ravindra Jain | Kavitha Krishnamurthy, Hemlatha |
| "Tu Cheez Badi Hai Mast Mast" | Mohra | 1994 | Viju Shah | Anand Bakshi | Udit Narayan, Kavitha Krishnamurthy |
| "Kismat Se Tum" | Pukar | 2000 | A R Rahman | Javed Akhtar, Majrooh Sultanpuri | Sonu Nigam, Anuradha Paudwal |
| "Jiya" | Gunday | 2014 | Sohail Sen | Irshad Kamil | Arijit Singh |
Note that the following songs are composed in Abheri, the equivalent of raga Bhimpalasi in Carnatic music.