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geezerjazz

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Reply with quote  #1 
Why does iTanpura tune to ma for Bhimpalasi? Is this common?
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povster

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Reply with quote  #2 
Even though Pa is present, Ma is vadi in Bhimpalsi. See other posts below.
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barend

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Reply with quote  #3 
I always tune to pa. Tuning Bhimpalasi in ma sounds weird. Sitar players also tune their third chikari to pa.
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chrisitar

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Reply with quote  #4 
Ma is vadi in Bhimpalasi, but the tuning of the tanpura is still sa/pa. Otherwise the raga would sound similar to Bageshri. I've never heard a sitar tune its chikari to ma for Bhimpalasi either. 
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Tomek Regulski

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Reply with quote  #5 
I have heard some recordings of Bhimpalasi with the tanpura tuned to MA, including the Gundecha Brothers. Have seen them teach it that way as well, BUT have also seen them teach/perform with PA, so it seems like there is at least a choice to be made.

Bhimpalasi and Bageshri move through and tune their notes very differently, so I feel like even in the Ma-tanpura version of Bhimpalasi, the difference is clearly felt.

Here's the Gundhecha Brothers singing Ma-tanpura Bhumpalasi:



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barend

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Reply with quote  #6 
To me tuning to ma in Bhimpalasi spoils the mood. It almost sounds like a different raga.
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geezerjazz

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Reply with quote  #7 
Thanks everyone for your input. It took me a while to get accustomed to Bhimpalasi with the tanpura on ma. But once I got it, I had no trouble keeping it separate from Bageshree. Now I like both ways -- pa and ma. Each gives a different feel.

Thanks Tomek for that link to the maestros. Those guys never fail to amaze me with their chops, and when they are inspired and in the flow they're just incredible.
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geezerjazz

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Reply with quote  #8 
Just listened again--they're really young in this recording. Ramakant sounded more or less the same as he does now, but Umakant's voice has changed so much! Really nice performance.
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