Bhupali, which is also referred to as Bhup is one of the most prominent pentatonic rag-s currently performed.
Tone material: S R G P D
The ascent-descent is straightforward, and most of the elaboration in Bhupali takes place in the second half of the low register and the middle register. Ga and Dha are the important notes, and on Ga, Pa and Sa phrases commonly end. A notable feature of Bhupali is that in ascending movements Re, Ga and Dha are usually approached from above, while in descending movements Ga and Dha are frequently linked with glides, as in P \G and R \D /S.
Some characteristic phrases:
G R \D S
G R P \G
Rag Deshkar has the same ascent-descent as Bhupali but the note treatment and the melodic progression is different. In Deshkar Pa and Dha are much more prominent, and Re is weaker and never sustained. There can be a slight oscillation on Dha, and its approach from flat Ni reveals its affinity with the Bilaval group. Moreover, Deshkar is a lively early morning rag, which avoids the typical Bhupali glides and moves mainly in the upper part of the middle and the high register. The characteristic melodic movement of Deshkar is G P D ~, P D S \P, D \G.
If not careful, sometimes shades of rag-s like Shuddh kalyan and Jait kalyan can creep in to rag Bhupali,
Time: early part of the night (Bhatkhande [KPM II] 1952: 53)
Kishori Amonkar ECSD 2702
Hariprasad Chaurasia ECSD 2952
Parrikar on Bhupali
Performance by Ajoy Chakrabarty
Composition: bada khayal
प्रभू रंग भीना
मोहे सब सुख देना
दूध पूत अौर
अन्न धन लछमी
सबरंग सब बातन में
मोहे लायक किना
In this composition by Bade Ghulam Ali Khan (1902-1968) alias Sabrang of the Patiala gharana, the composer pleads with the God to lend colour to his life by granting him prosperity, peace, progeny and virtues. In the second part of the composition composer’s name appears.
Tal: Ektal (slow tempo)
3-10: The opening movement announces the rag unmistakably with an emphasis on the Ga
24.5-28: R \D /S -characteristic movement in Bhupali
31: Beginning of the composition with an ornamented phrase- SGRGRSRG, typical to the style of this artist. Following the movement that ends on the lower Pa, note the accentuated beat on the middle Pa, which is approached from the lower end
108: Second part of the composition (antara)
152.5: Exposition using the song-text (bol alap)
188-200: Emphasis on the Ga, one of the important notes in this rag
204-212: Note themovement following the sustained Sa
244-246: Note another ornate phrase including the Re and Ga
293: Elaborations around the high Sa
316-320: Finishing the cycle with a very fast passage ascending to the high Ga and quickly descending down