Recorded at Darbar Festival 2022, at the Barbican Centre, London.

Musician:
- Rakesh Chaurasia (bansuri)

Raag Bhimpalasi; Thaat: Kafi; Samay: Afternoon

Chaurasia is a true exponent of the therapeutic impact of the bansuri, “The notes have to do something within your system so it affects your chakras and your mind frame,” he explains, adding that the correct timing (also known as 'Prahar' time theory) helps amplify the impact. Even if the performance takes place in a dark auditorium, he maintains, you can feel the morning. “The notes really have something to do with your system. I have felt it many times.”

Among day Raags, Bheempalasi is a very sweet and hauntingly pleasant melody. The initial development via Alaap is done very artistically to produce the Raag mood which is then thrown into waves with Taans. The rendering of Komal Nishad needs practice with these combinations: g m P n S' n S' n S' . Rendering this way will give the required higher shruti to Komal Nishad.

In Avroh Dhaivat is linked with Pancham (i.e. Pancham is used as a Kan-Swar). Like wise Rishabh is linked with Shadj (i.e. Shadj is used as a Kan-Swar). Similarly while rendering Nishad, adjacent Shadj is used as a Kan-Swar (in Meend) likewise Gandhar is rendered with madhyam as a Kan-Swar (in Meend).

This is a Poorvang Pradhan Raag. It is expanded freely in all the three Octaves. This Raag is similar to Raag Aabheri in Carnatic Music. Raag Dhanashree is similarly to Raag Bhimpalasi, but Dhanashree has Pancham as a Vadi Swar whereas Raag Bhimpalasi has Madhyam as a Vadi Swar.