S-R-gG-m-P-D-n-S

---

Near-identical to Gaoti, Bheem is often said to be marked out by its allowance of komal ga in taar saptak – although nowadays, this distinction seems mostly moot: there are plenty of Gaoti performances with this characteristic too, for example that of Acharya Jayanta Bose (n.b. Agra-Gwalior vocalist Prabhakar Karekar seems to concur that the ragas are indistinguishable, having been known to preface his Gaoti renditions with the remark that he “had been taught the raga under the name Bheem”). Tanarang notes that “in uttarang, komal ni is always rendered [via a] meend from Sa, as a kan-swar like GmP, (S)nS…Similarly in avroh, ni is generally skipped like SP/DP“. The vakra GmRS is taken instead of mGRS [n.b. some scholars have also noted the lineage of a separate Kafi-thaat Bheem, seemingly obsolete today]. Compare and contrast to the better-known Bhimpalasi, derived from an archaic conjoining of Bheem and the now near-extinct Palas.

---

• Raga Megalist (365+) •

राग भीम

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: nSGmPnS

Avroh: SPDP, mGPm, GmRS

---

Chalan: e.g. nSGm; PnPSnS; SPDPDmP; GmRS; RnS; PnS; GmRS (Tanarang)

—Veena Sahasrabuddhe (1999)—

---

[refrain, e.g. 0:02] D PmP, P/S, S\n (S)n, S(nP) D(PD), D PmP, P/S…

---

• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

---

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

---

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Malgunji, Lankeshwari, Rageshri Kanada, Neelambari

–Swara Geometries–

---

• Core form: S–R–gG–m–P–D–n–S

• Reverse: SRgmPdDnS

• Negative: 2-5-2-3

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (gG—Dn)

• Murchanas: Bihag set

---

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

---

–Global Translations–

---

• Carnatic: ~Dwijavanthi

S-R₂-G₂-G₃-M₁-P-D₂-N₂-S

• Jazz: Bebop Dorian (dbl. 3rd)

1-2-b3-3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-9-10-0

(2–1–1–1-2–2–1–2)

---

o • o o o o • o • o o • o

---

• Tanpura: Sa–Pa

• Names: Bheem, Bhim (~Gaoti)

—Munshi Raziuddin & Fareed Ayaz (1988)—