History & Origins
Bhimpalasi belongs to the Kafi thaat and is one of the most important afternoon ragas in the Hindustani tradition. Its name connects it to the great vocalist Pandit Bhimsen Joshi, who is particularly associated with it, though the raga predates him significantly. The raga's use of both natural and flat Nishad (ascending and descending respectively) is its defining grammatical feature.
The Notes of Raga Bhimpalasi
Raga Bhimpalasi is a Audava-Sampurna raga, meaning it uses audava-sampurna notes. The ascending and descending movements of the raga are defined below. In Indian classical notation, lowercase letters indicate flattened (komal) notes, and t superscript indicates a sharpened (tivra) note.
The Characteristic Phrase (Pakad)
The pakad is the signature melodic gesture of a raga: the phrase that immediately identifies it to an experienced listener. For Raga Bhimpalasi, the pakad is:
Performance
The afternoon hour of Bhimpalasi suits a particular quality of reflective introspection that the post-midday light produces. The musician explores the relationship between the two Ni-s with great care. The ascent's natural Ni creates a sense of brightness; the descent's komal Ni adds depth and a touch of melancholy. The characteristic pakad (Ni Sa Ga Ma, Pa Ma Ga, re Sa) is one of the most recognisable in the repertoire.
Spiritual Significance
Bhimpalasi's emotional world is viraha (the ache of separation) but not the devastating grief of Todi or Malkauns. It is a more personal, intimate longing, the quiet sadness of the afternoon when the mind turns inward and becomes aware of what is absent. Its karuna rasa has the quality of gentle weeping rather than profound lamentation.
Notable Performers
- Pandit Bhimsen Joshi (definitive recordings)
- Ustad Bade Ghulam Ali Khan
- Gangubai Hangal
- Kishori Amonkar
Famous Compositions
- Celebrated Khayal compositions of the Kirana gharana
- Many thumri compositions