Alam Khan’s portrayal of Raag Bhimpalasi takes an unassuming quality with the serene tonality of his sarod and the confident cadence of his introductory phrases.
He explores the lower octave with sustained notes, delineating a haunting and sweet portrait of the melody. Gradually, he approaches the middle octave, elaborating Bhimpalasi through a versatile prism and builds up livelier phrases and patterns moving on to the jod and an energetic jhala.
In a 16-beat vilambit gat, Khan demonstrates the nuances of Bhimpalasi with grace, vigour and commendable laykari. He projects the finer aspects in the drut teental gat with refreshing phrases cast with sparkling gamaks, curly ornamentations and dynamic taans.
Anubrata Chatterjee provides a steady and receptive accompaniment, reproducing Khan’s melodic phrases on his tabla with wit and interspersing the spaces in between with beautiful tihais and tukdas.
Raag Bhimpalasi is derived from the Kaafi thaat (scale) and is performed during the third quarter of the day, between 12 pm and 3 pm. It omits Re (2nd) and Dha (6th) in its ascent and uses komal or flat Ga (3rd) and Ni (7th). The flavor of Bhimpalasi is enhanced by the use of the flat Ni or 7th in a slightly higher frequency.
Alam Khan (sarod)
Anubrata Chatterjee (tabla)
Debipriya Das (tanpura)
Bhimpalasi, Thaat: Kafi, Samay: 12pm – 3 pm