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


Patdip is a popular rag, similar in structure to another common rag Bhimpalasi, except that Patdip includes natural Ni unlike Bhimpalasi which has flat Ni.

Tone material: S R g m P D N

Dha is omitted from the direct ascending line. In descent it can be used either as S N D P or N S D P.  Natural Ni is a dominant note in this rag and many movements begin, as well as end on it. Pa can also be a resting point. There is an oscillation on Ga and m P \g ~is a typical phrase.  In the concluding phrase, Re is often intoned with a clear touch of Sa, as in  m g ~ SR – S.

Some characteristic phrases:
N S g SR- S
g m P N – D P
D m P \g~

General movement of Patdip is in the lower tetrachord (Thakurdas [Rag darshan I] 1987: 91).  The lower tetrachord of Patdip shows a partial similarity with Bhimpalasi. However, an adequate emphasis on natural Ni helps to maintain the rag image.  The phrase  N S g – R S Ni, if intoned without oscillation on Ga and a touch of Sa for Re, can give impression of rag Pilu. In Patdip, if natural Ma is replaced by sharp Ma, we get rag Madhuvanti.

Time : afternoon (ibid)

Further listening:
Recording by Hirabai Barodekar
Recording by Sultan Khan

Performance by Jayateerth Mevundi

Composition: bada khayal

पिया नहीं अाये
अब मैं कासे कहू सजनी

जबसे गये मोरी
सुध हू न लिनी
पतिया ना भेजे

Oh my friend, my beloved hasn’t returned. Ever since he has left, I haven’t heard from him at all.

Tal: Jhumra (slow tempo)

5-15: Performance begins with a phrase sustaining the lower Ni
23-28: Typical phrase -N S g R – S
34-40: Oscillating flat Ga, followed by natural Ni, dispelling any impression of Bhimpalasi
47-53: Similarly sustained Ma, followed by natural Ni
73-89: Middle Pa is in focus
91: Melody rises to middle Ni, which is sustained
115: On to high Sa
122: Composition starts
168: Variation of the first line
200-312: Elaborations in the middle octave using words of the composition (bol alap). Note ornamented ending at the end of sustained Pa (207)
314: Movement leading to high Sa, followed by the second part of the composition (antara). Note how the words of the composition are used to improvise

Performance by Ram Deshpande

Composition: hori

होरी खेलत बहार
ए ब्रिजनार फेकत रंग
कैसी ये फुवार

खेलत राधा होरी
रंग उडावत
भर पिचकारी मुरारी

The song depicts the colourful festival of Holi, in which Krishna, his consort Radha and the maidens of the Brij are spraying colur on each other.

Tal: Rupak (medium tempo)

4-16: Performance opens with a phrase in which Ga is oscillated, Re is sustained and the movement ends on lower Ni. Note an ornament (murki) in the beginning of the phrase
18-23: N S D m P -a typical phrase to descend from Sa
35-38: Sustained Ma, followed by natural Ni
45-57: Movement approaching Pa and later middle Ni, followed by N S D P in the middle octave
75: Phrase leading to high Sa, followed by the composition which commences on NI
95: First line is repeated with some variation
111: Second line
128: Concluding line of the first section (sthayi)
142: First part of the composition presented again
203: Second part of the composition (antara)
231: Next line
241: Concluding line
275: Second part presented again
322-432: Elaborations using words of the composition (bol alap)
439: Second part presented again

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