Raag Bhimpalasiभीमपलासी
Sourced · not yet reviewed by a musician
Kafi thaat · Audav-Sampurna · Afternoon
- Morning
- Afternoon
- Sunset
Swaras and phrases
Outlined: 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 · 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
Tap a lit note to hear it · Synthesized for study — not a recording
- 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
- 4 of 4 sources agree
- 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
- 2 of 4 sources agree
- 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
- 3 versions in 3 sources
About Bhimpalasi
Bhimpalasi usually starts its ascent on lower 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 and leaves out Re and Dha going up. Its glides and oscillations need control, and its solemn movement can feel calm.
Source: AUTRIM +2
Also called Bhimpalashri.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan II.
Source: PKK
- PKK, printed p.5, list of prescribed raags
How it moves
AUTRIM says the ascent usually begins on lower 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 and leaves out Re and Dha.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
AUTRIM says Ma Pa gliding down to an oscillated 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 is typical of the descent, alongside ni Dha Pa and ga Re Sa.
Learner focus
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.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, description
Caution
Older accounts used shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni. Today 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 used, and in the ascent it is sung slightly higher rather than changed to shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing an ascent from lower 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 that leaves out Re and Dha.
- Sing Ma Pa, glide down to 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, and oscillate it.
- Sing ni Sa ga Re Sa slowly.
Based on: Artium Academy +6
- 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
- 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
- AUTRIM, Bhimpalasi page, characteristic phrases
Variants
- Earlier shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary-Ni use is distinguished from contemporary oscillated 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, which sounds higher in ascent.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 5 sources agree
- JatiAll 5 sources agree
- Time5 of 6 sources agree
- Aroha4 of 4 sources agree
- Avaroha2 of 4 sources agree
- Pakad3 versions in 3 sources
- VadiAll 5 sources agree
- SamvadiAll 5 sources agree
Sources differ
Notes where the cited sources describe the 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 differently. Field-by-field versions and their sources are under How the sources vote.
- AUTRIM's description writes one descending phrase with a 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 sign, but its note list and characteristic phrase use shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma. RagaPedia follows the shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
Similar raags named by the sources
- Dhani: Belongs to the related Dhanashri group omitting Re/Dha in ascent.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
- Patdeep: Related Dhanashri-group 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.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
- Pilu: Related Dhanashri-group 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.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
- Multani: Included in the Dhanashri group despite a different scale.
Source: AUTRIM
- AUTRIM, Bhimpalasi page, opening description
Film songs
Film songs where a checked source names Bhimpalasi. Each song shows whether a musician has reviewed it yet.
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-211 · CD
Nikhil Banerjee — Rotterdam, 1970
Nikhil Banerjee (sitar);Kanai Dutta (tabla)
Bhimpalasri
Alap and gats
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
An afternoon recording in Rotterdam
Raga Records pairs Nikhil Banerjee's Bhimpalasi with Multani in a concert recording made in Rotterdam on 17 May 1970. Banerjee plays sitar with Kanai Dutta on tabla, and the Bhimpalasi track moves from alapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary to rupak, tintal and jhalla.
Documented · Source: Raga-211: opening musician credits, BHIMPALASRI track list and final recording credits
A song against arrogance
AUTRIM presents Aslam Khan singing a bada khayal in Bhimpalasi that asks the listener to give up arrogance and keep the divine in mind. Its lyric explanation notes that Ahmed is both a name for the Lord in the song and the composer's name.
Documented · Source: Aslam Khan performance: bada khayal and Ahmed lyric explanation
Sources for this profile
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, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, 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, 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, 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 and 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 show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Bhimpalasi: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- BHMCT-105H, Block 6 धर्म, दर्शन और संगीत, Unit 3 पाठ्यक्रम के राग और ताल-3Indira Gandhi National Open University (eGyanKosh) · cited as IGNOU BHMCT-105HUniversity self-learning material. All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Raag BheempalasiArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Bhimpalasi - DarbarDarbar · cited as DarbarPublic Raga Explorer text; /raga/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
- Raga Bhimpalasi: The Afternoon Raga of LongingShankar Mahadevan Academy · cited as Shankar Mahadevan AcademyRobots allows public raga pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
- Raga Bhimpalasi - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by RagakoshRagakosh · cited as RagakoshRobots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.