Bhupal todi

This serene pentatonic rag omits Ma and Ni, and has therefore a scale structure identical to rag Bhupali. However, Bhupal todi is a very different rag.

Tone material: S r g P d

The ascent usually starts on low (flat) Dha and most phrases end on Sa and Pa, which are sustained in this rag. Since Bhupal todi has the characteristic phrase gr ~ /g \r – S, and flat Dha and Ga are its predominant tones, it is included in the Todi group of rag-s.  As can be clearly heard in the recording Re and Dha are frequently played with a slight oscillation.

Some characteristic phrases:
d S – gr ~ g \r – S
r g p – d ~P

The ascent in Bhupal todi is very similar to that in rag Bilaskhani todi (vide). However, the descent in the latter includes flat Ni and natural Ma, which give it a different flavour.

Time: early morning (Bhatkhande [KPM VI] 1976: 441)

Further listening:
Bismillah Khan STCS 850352 (HMV)
Raga Guide Recording by Hariprasad Chaurasia

Performance by Jayateerth Mevundi

Composition: chhota khayal

नैया उतारो पार करो
बीच भँवरमें पडी
अब तू ही छिबनहार

प्राणपिया तुम
गुरु महाग्यानी
दास ही तेरो
राखो दया की नजर

This composition is attributed to Vilayat Hussain Khan (1895-1962) alias Pranpiya of the Agra gharana. He pleads, “Please take my boat across the ocean. It is caught in the midstream. Now only you remain as my saviour. You are the wise one and I am your slave. Please keep your grace upon me.”

Tal: Rupak (medium tempo)

Performance:
4-10: Performance begins on the flat Re, which is oscillated, a feature typical to this rag and others of the Todi family
13-19: r /g \r, a characteristic phrase in this rag
31-42: Note the oscillating lower Dha and Pa embedded in between
58-68: A glide connecting the lower and upper flat Dha- d /g \d, returning to Re as g \r
82-85: Note the recurrence of oscillating flat Re & correspondingly oscillating flat Dha (104.5-108.5 & 116-119.5)
150-155: Meandering around the flat Re and flat Ga, this time in the high octave
191: Composition is laid out, refrain has a duration of one and half beat
247.5: Second line of the composition
268.5: Concluding line of the first part (sthayi)
424.5: Second part of the composition (antara)
458: Concluding line
475: Improvisations around the high Sa and beyond using the song text of the second part of the composition