The Role of Teevra Madhyam in Raga Bhupali

Introduction

Raga Bhupali is a well-known shakha (branch) of Hindustani classical music belonging to the Thaat Kalyan. It is a pentatonic raga, using notes from the basic chromatic scale, with unique character and emotional depth. The raga primarily consists of the following notes: Sa (C), Re (D), Ga (E), Pa (G), and Dha (A). In Bhupali, the fourth note, Madhyam (M), is typically a Shuddha Madhyam, a natural fourth. However, the incorporation of Teevra Madhyam (a sharp fourth) raises interesting questions about the raga's traditional integrity and structure.

Traditional Conventions

The use of Teevra Madhyam in Bhupali is not typically considered normal. Raga Bhupali's Shuddha Madhyam is a crucial part of its essence, contributing to its unique harmonic and melodic framework. The introduction of Teevra Madhyam would alter this delicate balance, potentially changing the raga's character and making it sound more like another raga, such as Shuddha Kalyan.

Comparison with Shuddha Kalyan

Shuddha Kalyan, a close raga to Bhupali, also uses Teevra Madhyam. However, the use of Teevra Madhyam is more restrained in Bhupali, often manifesting only as an interim note during the meend (glide) between Pancham (F) and Gandhar (B) or Shadja (C) to Dhaivat (B). The presence of Teevra Madhyam in Bhupali would disrupt this delicate balance, leading to a blending of raga characteristics. Maintaining the purity of Bhupali's structure is an intricate challenge for musicians and composers alike.

Examples and Interpretations

Bringing this challenge to light, various interpretations of Raga Bhupali have been presented by renowned musicians. Meghana Kulkarni, for instance, demonstrates in a specific rendering of Bhoopali (a variant of Bhupali) how maintaining the distinct character of each raga is paramount. In Bhoopali, the Madhyam must not be heard separately, whereas in Shuddha Kalyan, it should be heard distinctly during the meend. This careful distinction is one of the hallmarks of masterful execution in Hindustani classical music.

Conclusion

In summary, while the theoretical possibility of incorporating Teevra Madhyam in Raga Bhupali exists, doing so would significantly alter the raga's traditional character and structure. Given the close relationship between Bhupali and Shuddha Kalyan, and the delicate balance required to keep Bhupali distinct, the inclusion of Teevra Madhyam is neither advisable nor typical. The absence of Teevra Madhyam in Bhupali recordings, as observed by many artists, underscores the raga's adherence to its traditional conventions.