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Raga Bhimpalasi

Bhimpalasi, or Bhimpalasri is a very popular, and beautiful evening Raga. It is widely believed and understood to be a “jod” raga of Raga Bhim and Raga Palasi – though one rarely hears either of these ragas individually.

The notes, or swaras of the Raga are :

Shadja (Sa / C), Tivra Rishab (Ri / D), Komal Gandhar (Ga / D#), Komal Madhyam (Ma / F), Pancham (Pa / G), Tivra Dhaivat (Dh / A), Komal Nishad (Ni / B Flat).

Some of the allied ragas are Dhani, Patadeep.

In Carnatic Music , though musicians have sung compositions in this Raga – the closest allied is the “current” day Raga Abheri. Traditionally, Raga Abheri was sung with Komal Dhaivat – though in recent years musicians have been singing it with Tivra Dhaivat – resembling Bhimpalasi.

I’ve presented an “Alap” – comprising of:

Alap – a free flowing exposition of the raga,
Jod – a slow rhythmic section with patterns – but no rhythmic accompaniment
Jhala – a fast rhythmic section – again with no rhythmic accompaniment

Raga Gorakh

A late evening / night raga, Raga Gorakh has the following notes / swaras :

Shadaj (Sa / C), Tivra Rishab (Ri / D), Komal Madhyam (Ma / F), Pancham (Pa / G), Tivra Dhaivat (Dh / A), Komal Nishad (Ni / B Flat).

It is a very appealing raga most suited to slow unwinding of the character and notes. Here, I’ve presented only an

Alap – a slow free flowing exposition of the raga.

Raga Jinjoti

An early night raga, it offers tremendous scope for improvisation, and for expressing many rasas, or feelings. Though, nowadays, it is often heard only in light classical – its nevertheless a full fledged raga in its own way, and even has a traditional Dhrupad composition set in it.

The notes or swaras of the raga are :

Shadaj (Sa / C), Tivra Rishab (Ri / D), Tivra Gandhar (Ga / E), Komal Madhyam (Ma / F), Pancham (Pa / G), Tivra Dhaivat (Dh / A), Komal Nishad (Ni / B Flat).

There are a few allied ragas like Khamboji, Khambavati.

In Carnatic Music, Jinjoti, or Jenjurti (as its called) – is a popular raga but not too many compositions. It is a janya raga of Harikamboji – and is sung as a Nishadantha raga in Madhyama Sruti.

In this raga, I’ve presented an

Alap – comprising of

Alap – a free flowing exposition of the raga,
Jod – a slow rhythmic section with patterns – but no rhythmic accompaniment
Jhala – a fast rhythmic section – again with no rhythmic accompaniment

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