| Hindustani Classical Music | |
|---|---|
| Concepts | |
| Shruti · Swara · Alankar · Raga | |
| Tala · Gharana · Thaat | |
| Instruments | |
| Indian musical instruments | |
| Genres | |
| Dhrupad · Dhamar · Khyal · Tarana | |
| Thumri · Dadra · Qawwali · Ghazal | |
| Thaats | |
| Bilaval · Khamaj · Kafi · Asavari · Bhairav | |
| Bhairavi · Todi · Purvi · Marwa · Kalyan |
Bhimpalasi is a Hindustani classical raga.
Contents |
Writing about the musical theory of Indian classical music is fraught with complications. First of all, there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim(knowledge).
Notation: S r R g G M P d D n N S
Lower caps indicate 'komal' or flat notes, " indicates higher (third) octave, ' indicates lower (first) octave
The ga is komal ga (294 cents above Sa)[1])
Related ragas:
The madhyam (fourth) is the most important note - an important 'nyaas' sthaan (note for rest) with emphasized elaboration around this note - S g M, M g M, g M P, M P g M P (M) g (M) g M... The Rishabh (second) and the Dhaivat (sixth) are skipped in Aarohi (ascending) passages, but are given due importance when descending (Avrohi). Use of the Dhaivat and Rishabh is symmetric and both are approached via the succeeding notes (D from n, and R from g).
Artists with recordings of Bhimpalasi: Ashwini Bhide Deshpande, Bismillah Khan, Ravi Shankar, Hariprasad Chaurasia, Bhimsen Joshi, Kumar Gandharva, Mallikarjun Mansur, Kishori Amonkar, Jitendra Abhisheki, Debashish Bhattacharya, Pandit Jasraj, Pandit Sanjeev Abhyankar