• Raag Bheem •


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 renditions with this characteristic too: e.g. vocalist Acharya Jayanta Bose). Gwalior singer and educator 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 also note the existence of a separate Kafi-thaat Bheem, which appears to be obsolete today]. Compare to the better-known Bhimpalasi, derived from an ancient conjoining of Bheem and the now-extinct Palas.

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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 | 32Enclosed | 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: SRgGmPDnS
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
Jazz: Bebop Dorian (dbl. 3rd)
Pitch classes (‘fret-jumps’):

o • o o o o • o • o o • o


• Tanpura: Sa–Pa
• Names: Bheem, Bhim (~Gaoti)


—Munshi Raziuddin & Fareed Ayaz (1988)—



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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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