Hamsaanandhi & Sunadhavinodhini
Nasikabhushani,Vaagadeeshwari,Vachaspathi &Saraswathi
Hindolam,hindola vasantham& Margahindolam
Nattai,Gambeera naatai
Pasupathipriya and suddhasaaveri
Mayamaalavagowla and Kamalamanohari

Nagaswarali - Bahudari

I think "lalitha panchamam and Takka" also.

dear swamirams72 and jayaram,
mishra hindola topic details have direction to collect spicy tips of ragas,still have mood to listen in female voice modulation,great information in raga knowledge management

perhaps poornashadjam and rudrapriya also?

Is there any similarities between Valachi and Malayamaarutham ?

I recently heard a raga called Nata Narayani; Muthuswamy Dikshitar has composed a kriti 'Mahaganapathe palayasumam' in it. Can someone tell me how to differentiate it from Sama. They seem to have similar if not the same notes and arohana/avarohana.

They are very similar with Malayamarutam allowing the Ri while Valaji doesn't.
Valaji is S G3 P D2 N2 S - S N2 D2 P G3 S
Malayamarutam is S R1 G3 P D2 N2 S - S N2 D2 P G3 R1 S

Simhendramadhyamam and Keeravani. Can anyone help me differentiate?

rajesh_rs,
In theory, the only difference is the madyamam- the former has pratimadhyamam, the latter suddhamadyamam.
Though the other swarams are all the same, the prayogams also help to differentiate.

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.

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

Sir,

The file is not available there anymore...can it be reposted please ?

Thank you

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

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.

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.

What about the rag " Karnaranjini" and " Salagabhairavi"

I recently checked out ragasurabhi http://www.ragasurabhi.com/identifying-ragas.html
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!

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.

thanks. excellent website

excellent website, thanks