Bhimpalasi (or Bhimpalashri) is today the major representative of the old Dhanashri group which omits Re and Dha in ascent. This group includes rag Dhani, Patdip (vide) and Pilu (vide), as well as Multani (vide), although the latter has a completely different scale.
Tone material: S R g m P D n
The ascent usually begins on the low (flat) Ni, which is slightly raised and oscillated in ascending movements. In fact some years ago the use of natural Ni was permitted in some movements (Bhatkhande [KPM II] 1952: 282), which is not the case today however. The movement M P \g ~ with a typical oscillation on flat Ga, is characteristic to this rag and is frequently used in the descent. Symmetrical phrases n D- P and g R – S are characteristic of this rag as well. In these phrases Dha and Re are intoned with a slight touch of Pa and Sa respectively. Ma and Pa are the important notes on which phrases end.
Some characteristic phrases:
n S g- R S R- S
R n S /m
m P \g ~
The slow slides and oscillations, and particularly the intonation of Ni (which is sharpened in the ascent) demand great control. The solemn movements can bring out a serene and peaceful mood.
Time: early afternoon (ibid)
Performance by Aslam Khan
Composition: bada khayal
वारी वे गुमान ना करिये
साचे साहब सो डरिये
निस दिन मनमें सुमिरन किजे
एहद अहमद सो ध्यान चित धरिये
Do not be arrogant and egotistical. Have fear of the almighty and keep Ahmed (the Lord / also the name of the composer) in your heart at all times.
Tal: Rupak (slow tempo)
4-11: The lower flat Ni oscillated. Note that the note ranges between the natural and flat Ni
22-27: Similar intonation of the flat Ni merging once again in the tonic, Sa
31-37: n S g- R S R- S – a typical phrase for this rag. Note the sustain on the note Re
41-47: Ma is sustained, note a small ornamentation at the end of the phrase
48 -52: Pa, one of the dominant note in this rag is in focus
72-75: The note is approached again, this time followed by a phrase that includes Dha. Note a peculiar oscillation on the note, which is rather unusual
91-95 & 113-117: R S R- S, a concluding phrase, typical to this rag
99: Now the melody is moving further upwards towards the high Sa
104: Note the slow oscillation (gamak), first on Dha, followed by Pa and Ma
120: Composition begins with a refrain that takes off after the 5th beat of the cycle
270: Having laid out the first part of the composition (sthayi) twice, melodic improvisation begins using the words of the composition
246 -247: Note a sweeping glide between the middle octave Pa and its counterpart in the lower octave
361: The second half of the composition (antara) is presented
393: Having completed the composition, improvisations are introduced using the solfaggio (sargam)