Raag Bhupaliभूपाली
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Kalyan thaat · Audav-Audav · Early night
- Sunset
- Early night
- Night
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 Ga · 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 Dha
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 Re Ga Pa Dha Sa'
Source: NIOS +4
- NIOS, printed p.7, Raga Parichay, Aroha
- Artium Academy, Raag Bhoopali page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- Rāga Junglism / George Howlett, Melodic summary, Aroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- 5 of 6 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' Dha Pa Ga Re Sa
Source: NIOS +4
- NIOS, printed p.7, Raga Parichay, Avaroha
- Artium Academy, Raag Bhoopali page, avaroha
- Krsna Kirtana Songs, Raga facts, Avaroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Rāga Junglism / George Howlett, Melodic summary, Avroh
- 5 of 6 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
- Ga Re \ Dha Sa; Ga Re Pa \ Ga
Source: AUTRIM
- AUTRIM, Bhupali page, characteristic phrases
- 5 versions in 5 sources
About Bhupali
Bhupali uses five notes: Sa, Re, Ga, Pa and Dha. It develops mostly in the lower and middle registers. Its ascent and descent are direct, but approaches from above and descending glides give it its character.
Also called Bhup.
Source: AUTRIM
- AUTRIM, Bhupali page, opening description
Learner focus
Listen for Re, Ga and Dha approached from above, and for glides joining Ga and Dha on the way down.
Source: AUTRIM
- AUTRIM, Bhupali page, opening description
Caution
Deshkar has the same notes going up and down, but it stresses Pa and Dha, keeps Re weak and moves in a higher register.
Source: AUTRIM
- AUTRIM, Bhupali page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Sa Re Ga Pa Dha Sa' and back down without adding Ma or Ni.
- Sing Ga Re, glide down to Dha, and come back to Sa.
- Deshkar uses the same notes but stresses Pa and Dha and moves higher. Sing a Bhupali phrase low and slow, then the same notes higher with Re kept weak.
Based on: NIOS +11
- NIOS, printed p.7, Raga Parichay, Aroha
- Artium Academy, Raag Bhoopali page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- Rāga Junglism / George Howlett, Melodic summary, Aroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- NIOS, printed p.7, Raga Parichay, Avaroha
- Artium Academy, Raag Bhoopali page, avaroha
- Krsna Kirtana Songs, Raga facts, Avaroha
- Rāga Junglism / George Howlett, Melodic summary, Avroh
- AUTRIM, Bhupali page, tone material
- AUTRIM, Bhupali page, characteristic phrases
- AUTRIM, Bhupali page, description
Variants
- NIOS gives a longer teaching 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; AUTRIM gives shorter characteristic phrases. Different examples do not mean either one is wrong.
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 6 sources agree
- JatiAll 6 sources agree
- TimeAll 6 sources agree
- Aroha5 of 6 sources agree
- Avaroha5 of 6 sources agree
- Pakad5 versions in 5 sources
- VadiAll 6 sources agree
- SamvadiAll 6 sources agree
Similar raags named by the sources
- Deshkar: AUTRIM gives Bhupali and Deshkar the same basic scale; their treatment differs in note emphasis, register and glides.
Source: AUTRIM
- AUTRIM, Bhupali page, description
- Shuddh Kalyan: Its shades can creep into Bhupali if care is not taken.
Source: AUTRIM
- AUTRIM, Bhupali page, description
- Jait Kalyan: Its shades can creep into Bhupali if care is not taken.
Source: AUTRIM
- AUTRIM, Bhupali page, description
Film songs
Film songs where a checked source names Bhupali. Each song shows whether a musician has reviewed it yet.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Sabrang asks for colour
AUTRIM credits the Bhupali composition sung by Ajoy Chakrabarty to Bade Ghulam Ali Khan, who used the name Sabrang. The notes explain it as a prayer for prosperity, peace, children and virtues, with the composer's name appearing in the second part.
Documented · Source: Ajoy Chakrabarty performance: composition credited to Bade Ghulam Ali Khan / Sabrang
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.
- Bhupali: 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.
- Hindustani Music (242), Practical Book 2, Chapter 1: Chota KhayalNational Institute of Open Schooling · cited as NIOSGovernment open-schooling course book with raag profiles (Raga Parichay). Accessed 7 October 2026. Located by printed page; paraphrased.
- OMU-001 Introduction to Hindustani Music, Block 3 Applied Theory, Unit 1 RagaIndira Gandhi National Open University (eGyanKosh) · cited as IGNOU OMU-001University self-learning material. All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Raag BhoopaliArtium 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.
- Raga BhupaliKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Different Kinds of Ragas by Scale (thaat) - Raag HindustaniRaag Hindustani / Sādhana · cited as Raag Hindustani / SādhanaPublic teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadi, samvadi or pakad is inferred from the teaching examples. Accessed 17 October 2026.
- Praveshika Pratham: Syllabus and Theory / Raag IntroductionsSwaranjali Music School · cited as Swaranjali Music SchoolOpen school syllabus; robots.txt returned 404 and no restrictive terms link was found on the inspected school homepage. Copyright belongs to the school/Anjali Nandedkar: factual fields are cited; prose is paraphrased; original PDF and rendered pages are local audit evidence only. Music uses a custom Latin font: ladder rawValue retains the extracted glyph codes, while normalized values were checked against rendered pages. Superscript grace notes are parenthesized in value; the source’s dot and vertical-bar octave symbols are read using its own notation guide (Praveshika PDF pp.10–11). Accessed 17 October 2026.
- Deshkar: 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.
- Bhupali | SRGPDS | Hindustani Raga Index | 365+ RagasRāga Junglism / George Howlett · cited as Rāga Junglism / George HowlettOpen-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this raga page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalan are not new independent votes. 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.