Similar Ragas
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Thanks, Punarvasu. I found compositions in Keeravani to alternate between being lighter and more emotional than Simhendramadhyamam which is a rather more grim and austere raga (with a tinge of deep emotion). I guess both ragas conjure a sense of nostalgia to some extent, although this is more pronounced in Simhendramadhyamam.
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Hi
yes. there are some more ragas that come to my mind..
Pantuvarali and Poorvikalyani .
Chakravakam and Sourashtra
Valaji and Janasammodini
Sriranjani and abhogi
Manirang and Madhyamavathy
However, these can be easily identified/differentiated
if one knows the structure of the ragas and if one could identify the swars/notes.
Dakshina Murthy
yes. there are some more ragas that come to my mind..
Pantuvarali and Poorvikalyani .
Chakravakam and Sourashtra
Valaji and Janasammodini
Sriranjani and abhogi
Manirang and Madhyamavathy
However, these can be easily identified/differentiated
if one knows the structure of the ragas and if one could identify the swars/notes.
Dakshina Murthy
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Sir,cmlover wrote:Folks
Here is lecdem that I found in my vollections by Vid||OST which is most relevant to this thread
http://rapidshare.de/files/22729772/all ... s.mp3.html
Since this is noncommercial feel free to distribute. Listen to this slowly to relish the subtle beauty of the ragas that OST expounds!
Pl discuss each of these combinations too from your experience and other examples and make it lively! Regards
The file is not available there anymore...can it be reposted please ?
Thank you
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kedar, hamir kalyaniand deshkar, bhoop of hindustani music are some other exmples.. on a personal note .if i start singing, my wife says even Prof. Sambamurti cannot find out what raaga it is. I am reminded of a dialogue in the olden day film 'The man who came to dinner'. which is 'even Florence Nightingale would refuse to nurse you' . gobilalitha
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Really? I find Simhendramadhyamam kinda sensual (hope the filter does not chew and spit this out) while Keeravani more morose. This may be because, among other things, the former is sung more in the upper ranges while the latter's swaroopa resides more in the lower range.rajesh_rs wrote:Thanks, Punarvasu. I found compositions in Keeravani to alternate between being lighter and more emotional than Simhendramadhyamam which is a rather more grim and austere raga (with a tinge of deep emotion). I guess both ragas conjure a sense of nostalgia to some extent, although this is more pronounced in Simhendramadhyamam.
Last edited by sureshvv on 27 Sep 2008, 08:29, edited 1 time in total.
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All in our individual perception, I suppose. To me, simhEmadhyamam has majesty (like a simhA?) and a liveliness (because of the upper range?). Yes, kIravANI is a bit somber, bur yields itself to a lot of emoting within its framework.
Last edited by arasi on 27 Sep 2008, 09:06, edited 1 time in total.
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Re:
I recently checked out ragasurabhi http://www.ragasurabhi.com/identifying-ragas.htmlmdmurthy wrote:Hi
yes. there are some more ragas that come to my mind..
Pantuvarali and Poorvikalyani .
Chakravakam and Sourashtra
Valaji and Janasammodini
Sriranjani and abhogi
Manirang and Madhyamavathy
However, these can be easily identified/differentiated
if one knows the structure of the ragas and if one could identify the swars/notes.
Dakshina Murthy
Their way of distinguishing and explaining related and allied ragas is very wise. Especially purvikalyani and pantuvarali is explained with a lot of clarity through singing ( Week 27 - 27-Feb-10 at the above link ). The method they use to show the raga bhava and the differences is quite brilliant: They sing a short snippet using the name of the raga as the lyric, the first part of each snippet illustrates the difference between the two ragas and the last part the sameness. Minimal, crisp and clear. Well done!
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Re: Similar Ragas
I am an ardent fan of this site and have learnt a lot through this site www.ragasurabhi.com. They have handled and continue to handle various allied ragas and help differentiate. Anyone can request a differentiation and will be dealt with the musician there.