Raag Hindustani
© 2011, Sādhana

Compositions in Raag Bhimpalasi

Raag Bhimpalasi is poignant and filled with longing. It is traditionally performed during the late afternoon hours, upto sunset. This raga belongs to the Kafi thaat. Its vadi (most important note) is ma, and samvadi (second most important note) is Sa. Raag Bhimpalasi's aaroh and avaroh (ascending & descending scales) are as follows:

Scale: Bhimpalasi

Below are a few simple compositions (bandish) in Raag Bhimpalasi.


1. Jaa jaa re apne mandirva

This composition is a drut khayal by Sadarang and is based on a rather flirtatious theme of the newly-wed bride who wants to be with her husband but is shy and self-conscious in a joint-family setting, surrounded by the prying eyes of her in-laws. In this bandish she begs her husband to stop following her around, as she's afraid her mother-in-law and sisters-in-law could be listening/watching.


Jaa jaa re apne mandirva (key B♭)

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2. Gore mukh so more man bhaave

This composition is a madhyalaya chota khayal by Sadarang describing a beautiful woman. The poet says that he is smitten by the tantalizing glimpses of her fair face, her doe-eyes, and lovely mouth, which he compares to a lotus.


Gore mukha so more man bhaave (key B♭)

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3. Bhimpalasi ragini

This composition is a lakshan geet. A lakshan geet is a composition that outlines the main characteristics of a raga. It serves as a mnemonic device for students. For instance, this lakshan geet tells you the notes used in Raag Bhimpalasi, its vadi and samvadi, the ideal time for performing it and so on.


Bhimpalasi ragini (key A)

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Compositions in other ragas



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