Raag Palasi | Palasree | Tutorial | Tintal | self composed | Moumita Mitra

Raag Palasi / Palasree Tutorial. Chalan of one and 2 Nishad versions, followed by a self composed Teentaal bandish of the 2 Nishad version. Kafi Thaat. Afternoon Raag. P S Vaadi Samvaadi. Nyaas on S P and occasionally g. Starting from ,n is suggested to give the Bhimpalas like feel. Only n version ,n S g M P n S' S' n P M g R S gMRS and long nP to be avoided. Chances to stumble upon Kanada and Suha phrases. Suha has the same aroh from Sa. 2 Ni version ,n S g M P N S' S' N P M g R ,n S [In Kramik Pustak Malika and Ustad Ali Akbar Khan's notation, there is a Dhamar on Palasi that uses both the Nishads prominently. However, in swarmaalika of Kramik Pustak Malika and other referable notations of Ustad Ali Akbar Khan, the only n version have been notated.] N S' P - n S P often used in notations. Too much g M P N S' to be avoided to save from Patdeep else need to be balanced with PNS'- P or n recurrence. PnS' PNS' both are used. Tintal Self composed bandish, could also be a lakshangeet Sundar Kusum Kali Raag Palasi Dhaivat Varajit, Nikhaad Sajjita Roop se Man Lubhaayi [Palasi/ Palas is a beautiful flower and is also a Raag. Dha is not used in the Raag and Nishad is ornamented with the 2 Nishad use. The beauty of the Raag appeals the Heart] References: Kramik Pustak Malika, Ustad Ali Akbar Khan's notation. #rareraga #rareragamoumitamitra #palasi #palasimoumitamitra #palasree #palasreemoumitamitra #palasitutorial #palasitutorialmoumitamitra #ragatutorialseries #ragatutorialseriesmoumitamitra