Bhoopali

The same raga in Carnatic music is known as Mohanam.

Raga Bhoopali, Raga Yaman, and Raga Bhairav tend to be the three basic ragas of Hindustani music, learned first by its students.

Theory

Karhade (2011) explains that raga Bhopali consists of just 5 notes—सा रे ग प ध (sa, re, ga, pa, and dha).

It does not use Ma (also called Madhyam) and Ni (also called Nishadh). It is said that the absence of Ni (representative of physical pleasure) and Ma (representative of loving) means this raga is about non-attachment.

The Introduction consists of two parts – Aaroh आरोह (where the notes are simply recited on an ascending scale) and Avaroha (where the notes are simply recited on a descending order)

Thereafter, with these same five notes, different combinations are made by the singer, similar to short phrases, also called "chalan."

Aroha and avaroha

The scale of Bhopali uses only Shuddh swaras.

• Aroha (ascent): Sa Re Ga Pa Dha Sa'
• Avaroha (descent): Sa'! Dha Pa Ga Re Sa

Vadi and samavadi

• Vadi

Gandhar – ga

• Samavadi

Dhaivat – Dha

Alap

1. S, D1, D1...S, R, - S...D1, S..., D1, - - - P1, S, - - D1, S, - D1, P1, P1, D1, D1 D1 S

Pakad and chalan

The Pakad (a catchphrase that often helps in identifying a raga) is:

S R G R S D1 S R G

or:

S R G R S D1 S R G P G D P G R S

or:

G R P G G R S R D1 S

or:

G R S D1 S R G R P G D P G R S

or:

G R P G S R D1 S

Some chalans (elaborations of the pakad) are:

1. S R G R S D1 S R G
2. S R G R S D1 P1
3. P1 D1 S R G R G
4. S R P G
5. G R S R G P
6. G P D P D D S’
7. P G P D P D S’ R’ G’ R’ G’
8. G’ R’ S’ D P G R S

Note: Normally written swaras (individual notes) indicate the middle octave. A swara immediately followed by 1 indicates the mandra saptak (lower octave) and ' indicates the taar saptak (higher octave).

A few movements in Bhopali are important to note. There is typically a slide when descending between Sa and Dha, as well as between Pa and Ga. These slides parallel each other and can be used to create symmetry about how the Swaras are developed. Also, many performers will bring out the Kalyan flavor of Bhopali by using abhasi of the notes Shuddha Ni and Tivra Ma. That is to say, these notes are only vaguely suggested in passing ornaments, not actually sung for long enough for the Swara to become a clear part of the raga. Some examples would be:

(N₁)D₁ S

P(m)P(m) D P

where the notes in parentheses are connected by slides or sung as meend.

Bandish

This bandish is bound with Teentaal (16 beats).

1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16 |

Asthayi:

D S D2 P | G2 R2 S R2 |

G2 _ G2 P | G2 R2 S _ |

S R2 G2 P | R2 G2 P D2 |

G2 P D2 P | G2 R2 S _ |

Antara:

G2 _ G2 G2 |P _ D2 P |

S' _ S' S' |D3 R3 S' _|

G3 G3 R3 S'|R3 R3 S' D3|

S' _ D2 P |G2 R2 S _|

The Asthayi starts with the 9th beat.