One of the popular Raga-s in Indian music system, Bhoop is performed in evening from six to nine. The straight use of notes S R G P D S defines this Raga. Notes and M and N are barred. Being sosnant and cnosonant, Gandhar and Dahaivat are prominently used but from point of Thaharav (sustained use of a note) Gandhar, Rishabh and Pancham are signinficant in that order.
| Ascending order / Progression |
S R G P D S* |
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| Descending order / Regression |
S* D P G R S |
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| Jaati |
Penta-tonic (Audav - Audav) |
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| Sonant Note | G | |||||||||||||||||||||
| Consonant Note | D | |||||||||||||||||||||
| Time for rendering | Evening | |||||||||||||||||||||
Pt. Vishnu Narayan Bhatkhande in his Kramik Pustak Malika, Vol III gives a Lakshan-geet for Bhupali and distinguishes it from other Raga-s of similar nature.
| Ma Ni baraja gaye, ragini karaj ba | Create a Ragini banishing Ma and Ni | ||
| Bhupalli ang kahat guni sab, shuddha kalyanabi | The wise proclaim, Bhupali is Kalyan of pure notes | ||
| Loomanak jat Ma Ni baraja gaye | So long, Ma and Ni are not used in singing | ||
| Ga vadi aru Dha samvadi, |
Ga as sonant and Dha, the consonant | ||
| Deshikar mein ansh su Dhaivat | A touch of Dhaivat added to Deshkar | ||
| Raga Vibhasus jat komal Dha Re | But turns to Vibhas with flat Dha and Re | ||
| Shastra bhed samajhay Chatur | 'Chatur' discloses this secret | ||
| Ma Ni baraja gaye | Sing, banishing Ma and Nii |
The Lakshan-geet(s) are not the final word but a starting point. Thus this verse (written by 'Chatur', the pen-name for Pt. Bhatkhande) too should be taken as an introduction to the Raga; indications taken literally as law are likely to inhibit understanding.
Find Misrabani compositions in Rag Vibodh: Misrabani and Rag Rupanjali
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