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Distinguishing
between Similar Ragas
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| Distinguishing between Ragas Bhupali-Deshkar-Shudh Kalyan: |
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Raga Bhupali, also known as Bhoop, is a common
evening raga describing melancholy. Pandit Arun Bhaduri starts with comparing Bhupali
and Deshkar.
Both ragas use the same 5 swaras – Sa, Re, Ga, Pa, Dha – that is, they
share a common scale
 . The Arohan and Avrohan are Audav-Audav for
both ragas.
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Here are the key differences :
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Bhupali |
Deshkar |
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Bhupali, an evening raga belongs to Kalyan
thaat |
Deshkar, a morning raga belongs to Bilawal
thaat. |
| Bhupali’s vadi
(main) swar is Gandhar |
Deshkar’s is Dhaivat |
|
Bhupali concentrates on uses the purvaang
swaras of the scale, Sa, Re, Ga |
Deshkar uses the Uttarang swaras, Pa, Dha,
Sa, (of the higher register or tar saptak). |
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Though both ragas utilize the same notes or swaras, it is
the chalan or the exposition of each raga that is very
different:
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Here is the chalan of Bhupali
.
The main phrase here is Pa Dha Śa Dha Pa Ga Re Sa Re Pa
Ga
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Here is the Deshkar Chalan
.
Note that there is only a mild use of Rishabh in Deshkar
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The important phrases that identify Deshkar
and do not occur in Bhupali are
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| Finally, here is a bandish in Bhupali, in
which you may observe the repeated use of Gandhar
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Listen to a bandish
in Deshkar
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Here now is another raga, Shuddh Kalyan, which
runs very closely along the lines of Bhupali. This is how the
chalan of Shuddh Kalyan goes
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| The common features of these 2 ragas are : |
- Bhupali and Shuddh Kalyan are both in Kalyan thaat.
- Both use the Purvaang swaras of the octave and the vadi (most
prominent) swar of both ragas is Gandhar.
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| And here are the differences: |
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Bhupali |
Shuddh Kalyan |
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The arohan and avrohan of the 2 ragas vary: |
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Raga Bhupali has 5 notes in both arohan and
avrohan (Audav – Audav). |
Raga Shuddh Kalyan has 5 swaras in Arohan &
7 in Avrohan (Audav - Sampurna): Sa, Re, Ga, Pa, Dha, Sa and
Sa Ni Dha Pa Ma Ga Re Sa. |
| There
is a subtle difference in the use of meends of Pa-Ga and Sa-Dha: |
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Bhupali may employ a swift Pa-Ga or Sa-Dha |
Shuddh Kalyan takes a slower glide, also
skimming over Tivra ma , as in Pa-Tivra ma-Ga
. |
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The Seventh note, Nishad is completely
absent in Bhupali. |
Raga Shuddh Kalyan also employs a meend
over Ni, as in Sa-Ni-Dha .
In the delineation of Shuddh Kalyan, both Ni and Ma are
generally not prominent, being used only as meends. However,
notice the use of a straight Nishad in the illustration above
– Pa Dha Śa-Ni-Dha Ni Pa. |
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Ni and Ma are prominent in Shuddh Kalyan
when used in sargams or taans. |
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Now listen to the main phrases of Bhupali,
followed by Shuddh Kalyan to get a clearer picture of the
differences
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Finally, here again is the bandish in
Bhupali
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And, here is a bandish in Shuddh Kalyan
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<<back to distinguishing similar ragas page |
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