MUSIC IN MOTION

The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

Bibhas

Bibhas, also known as Vibhas, is a dignified pentatonic rag which is rather uncommon today.

Tone material: S r G P D

Two varieties of this rag are described in the literature (Bhatkhande [KPM V] 1974: 389). One of them includes flat Re and Dha while the other has flat Re and natural Dha. The recording and the description provided here refers to the latter variety.
Ga and Dha are important notes while Pa is a resting note. Re is somewhat weak in the ascent but more pronounced in the descent. As seen and heard from the accompanying recording, Re is very flat.

Some characteristic phrases:

S r PG P
G P D – P
D S r S – D P

Rag Jait has similar tone material. However, the emphasis on Pa instead of Ga and Dha makes the movements in Jait distinct from those in Bibhas.

Time: early morning (ibid)

Further listening:
Recording by Kesarbai Kerkar
Recording by Mallikarjun Mansoor

Performance by Ulhas Kashalkar

Composition: bada khayal

अलबेलो मेरो राजकुमार
नवसरोज मन हर लोचन
छब पर जावूँ बलिहारी

येरी सखी देखो मन हर
करुणासागर अब की बेर
कर हो भव पार

The lady narrates to her friend, how her heart is stolen by her handsome prince charmimg. She feels immensely gratified to have his compassion.

Tal: Tilvada (medium slow tempo)

Performance:
3-6: Performance begins on Ga, an important note in this rag
7-17: the next phrase reached lower Dha, another important note and returns to Sa. Note the flat Re which is lower than normal
19-28: Lower Dha is reached again, followed by D S r S, typical movement in this rag
35-52: Pa is sustained. Note the movements returning to Ga
62: Composition begins. Note the typical phrase for the refrain – S r PG P G P –
85: Second line
129-241: Improvisation in the middle octave using words of the composition (bol alap). Note a touch of Sa for the lower Dha (169). Movements focus around Ga and Pa
247: Middle Dha is included. Note a touch of Sa for the Dha (256-257)
281-350: High Sa is sustained and movements also include the notes above
365: Second part of the composition (antara) is presented

 
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