Bhimpalasi

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

Raga Bhimpalasi belongs to the Kafi Thaat.

Theory

 * Aarohana:
 * Avaroha:

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. It is performed in the early afternoon, from 12:00 P.M. to 3:00 P.M. (the third prahar of the day).

Use of dhaivat and rishabh is symmetrical in that both are approached via the succeeding notes (D from Ṉ, and R from ). is sung with a kaṇ-svara (grace note) of M. Similarly, Ṉ is sung with a kaṇ-svara from S.


 * Vadi Swar:
 * Samavadi Swar:
 * Thaat: Kafi
 * Pakad or Chalan:

Bandish Examples
A bandish is a composition in Hindustani classical music. Both of the following bandishes are examples of Bhimpalasi.

Bandish by Naimat Khan "Sadarang"
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.

Prominent Bandish(Composition) by Acharya Dr. Pandit Gokulotsavji Maharaj "MadhurPiya"
The Bandish Initials(Bandish Name): "Gāo Bajāo Sab Mil Ātā Umaṅg So"

The Bandish is set in tāla Ektal

Organisation and relationships
Related/similar ragas:
 * Bageshree, Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki
 * In Carnatic music, Karnataka Devagandhari is the most similar raga, falling with Melakarta 22 (Karaharapriya).

Behaviour
The madhyam (fourth) is the most important note. It is also a nyāsa-svara (resting note) with emphasized elaboration around this note -.

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