Bhimpalasi vs Multani
A study guide for two raags that a cited source names as similar. Every field is cited; no musician has reviewed this comparison yet.
Side by side on the twelve swaras
Lit notes are each raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary's core swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary set. An arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary can add notes or touches outside it; play them to hear where the two raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary part.
Raag Bhimpalasi
Tap a lit note to hear it · Synthesized for study — not a recording
Raag Multani
Tap a lit note to hear it · Synthesized for study — not a recording
Bhimpalasi
Kafi thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, afternoon (third praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the day, about noon–3 pm)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa ga Ma Pa ni Sa'
Source: Artium Academy +3
- Artium Academy, Raag Bheempalasi page, aroha
- Shankar Mahadevan Academy, Raga Bhimpalasi: The Afternoon Raga of Longing, aroha
- Darbar, Bhimpalasi - Darbar, aroha
- Ragakosh, Raga Bhimpalasi - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, aroha
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni Dha Pa Ma ga Re Sa
Source: Shankar Mahadevan Academy +1
- Shankar Mahadevan Academy, Raga Bhimpalasi: The Afternoon Raga of Longing, avaroha
- Ragakosh, Raga Bhimpalasi - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, avaroha
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- ni Sa ga - Re Sa Re - Sa; Re ni Sa / Ma; Ma Pa \ ga ~
Source: AUTRIM
- AUTRIM, Bhimpalasi page, characteristic phrases
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ma
Source: IGNOU BHMCT-105H +4
- IGNOU BHMCT-105H, §3.4.2 भीमपलासी राग का विवरण; printed p.184
- Artium Academy, Raag Bheempalasi page, profile details
- Darbar, Bhimpalasi - Darbar, vadi
- Shankar Mahadevan Academy, Raga Bhimpalasi: The Afternoon Raga of Longing, vadi
- Ragakosh, Raga Bhimpalasi - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Sa
Source: IGNOU BHMCT-105H +4
- IGNOU BHMCT-105H, §3.4.2 भीमपलासी राग का विवरण; printed p.184
- Artium Academy, Raag Bheempalasi page, profile details
- Darbar, Bhimpalasi - Darbar, samvadi
- Shankar Mahadevan Academy, Raga Bhimpalasi: The Afternoon Raga of Longing, samvadi
- Ragakosh, Raga Bhimpalasi - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, samvadi
Multani
Todi thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, afternoon (third praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the day, about noon–3 pm)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa ga Ma(tivra) Pa Ni Sa'
Source: Artium Academy +4
- Artium Academy, Raag Multani page, aroha
- Raagist, Arohi
- Riyaz, Public glossary / Aaroh
- Darbar, Aaroh (ascent):
- Raga Junglism, Melodic summary / Aroha:
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni dha Pa Ma(tivra) ga re Sa
Source: Artium Academy +3
- Artium Academy, Raag Multani page, avaroha
- Raagist, Avrohi
- Online Sangeet, Description / Avaroh
- Riyaz, Public glossary / Avaroh
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ni Sa / ga re Sa; Ma(tivra) ga ~ Pa Ma(tivra) Pa / Ni - dha Pa
Source: AUTRIM
- AUTRIM, Multani page, characteristic phrases
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Pa
Source: Artium Academy +3
- Artium Academy, Raag Multani page, profile details
- Darbar, Vaadi:
- Raagist, Vadi
- Online Sangeet, Description / Vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Sa
Source: Artium Academy +4
- Artium Academy, Raag Multani page, profile details
- Darbar, Samvaadi:
- Raagist, Samvadi
- Online Sangeet, Description / Vadi
- Riyaz, Public glossary / Samvadi
Why students confuse them
Included in the Dhanashri group despite a different scale.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
Study focus
Bhimpalasi
Control the slow slides and oscillations. KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni is sung slightly higher in the ascent.
Multani
Start phrases on lower Ni, oscillate komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga with tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary, and rest on Sa or Pa.