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Christianamr

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Chapter 1 : Observing the Armies on the Battlefield of Kurukṣetra

I have begun to check the first chapter for the moment , and the major part of it seems to be in Ahir Bhairav , with "shuddha dha " being notorious in the lower octave .

However , when the singer goes into the high register , she often sings " komal dha " .
While she is singing this part , what I believe to be a second raag of this apparent ragamala , she doesn´t sing " shuddha ga " as before , but she either switches the " ga "altogether or makes a kind of glissando from " komal ga " to " re " . So that would make this second raag either Bhairavi , Gunkali or another raag .... ( Not sure , only guessing here , because I am not sure in which raag such a glissando occurs . )

Actually you can hear these ragas shortly on after another , because in one instrumental interlude you have the flute playing Ahir Bhairav , and then the sitar playing the other raag with " komal dha " and " komal ga "/" without ga " .

Then I heard a short sitar interlude with " shuddha ga " and " komal dha " : This could maybe be " Basant Mukhari " ,

NB : "komal re " and " komal ni " are being maintained troughout the whole piece .

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Christianamr

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This topic was created by former member " AsianGirl " who requested that all of her posts be deleted ....
The only remaining old post is my reponse to it .

In her introductory post she inquired over the ragas that were used in a recitation of the Shrimad Bhagavad Gita . I am not sure , but it maybe was Anuradha Paudwal featured in more than 10-15 ( ! ) lenghty youtube clips .
For every clip she posted what she thought was the used raga . I had just responded concerning one clip , but then I had also marked this topic for future interaction , comparison and investigation into the other ragas used ....

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सहस्रनाम ततुलयम राम नाम वरानने |
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Christianamr

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Reply with quote  #3 
I have begun to check the first chapter for the moment , and the major part of it seems to be in Ahir Bhairav , with "shuddha dha " being notorious in the lower octave .

However , when the singer goes into the high register , she often sings " komal dha " .
While she is singing this part , what I believe to be a second raag of this apparent ragamala , she doesn

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सहस्रनाम ततुलयम राम नाम वरानने |
Sahasranāma tat tulyam Rāma nāma Varānane .
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Christianamr

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Reply with quote  #4 
Chapter 2 : Contents of the Gītā Summarized



For the major part in Bhupali , then often there is coupling of Ni and Re ( skipping Sa ) which reminds me of Yaman Kalyan , though the song hasn´t any intance of tivra Ma . I don´t know any raga where this coupling of Ni and Re would occur together with otherwise Bhupali-like audav characteristics .

Then when Ni is highlighted without Re it sounds like Hamsadhwani or Shankara .

Later in the songwise recitation there occurs komal ni , which sounds a bit like Kalavati .

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Christianamr

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Reply with quote  #5 
Chapter 3 : Karma-Yoga



It could be Bageshree or Malgunji , and some parts might sound like Abhogi . Or it could be another one of these raagas that sound like Khamaj thaat but have their Sa ( tonic ) on the Pa of Khamaj , like these Kafi thaat ragas from above .

If you hear it in Kafi thaat , it has both ga

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Christianamr

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Reply with quote  #6 
Chapter 4 : Transcendental knowledge



The major part seems to be in Shyam Kalyan ( the usual mixing with Shuddh Sarang seems to happen sometimes ) , some parts maybe in Kedar .

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Christianamr

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Reply with quote  #7 
Chapter 5 : Karma-yoga – Action in Krishna Consciousness



Seems to be raag Megh , though it could be also Madhmad Sarang . There are parts with shuddh Dha , shuddha Ni and komal ga ; which might point to ragas in Malhar- and Kannada-angas .

One flute interlude sounds like Brindavani Sarang .

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Christianamr

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Reply with quote  #8 
Chapter 6 : Dhyāna-yoga



For the major part I think it is in Kamod , due to the Re-Pa coupling : However there is no tivra Ma in this song , but normally tivra Ma should occur in Kamod ... Well , but not obligatory :
Parrikar ---
Quote:
S M R R P, m P D P, G M D D P, G M P G M (S)R S
Two points are of interest here. The teevra madhyam is weak in Kamod and appears only under the aegis of pancham; it can be dispensed with without injury to the raga swaroop
Some descending parts finishing on Re sound like Desh .

Then here happens the same coupling of Ni and Re , like in chapter 2 . Still thinking it has to do with Yaman Kalyan , because I haven´t encountered another raag where it occurs .
Quote:
For the major part in Bhupali , then often there is coupling of Ni and Re ( skipping Sa ) which reminds me of Yaman Kalyan , though the song hasn´t any intance of tivra Ma . I don´t know any raga where this coupling of Ni and Re would occur together with otherwise Bhupali-like audav characteristics .

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सहस्रनाम ततुलयम राम नाम वरानने |
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Christianamr

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Reply with quote  #9 
" Chapter 7 : Knowledge of the Absolute "



The major part seems to be in Deshkar .
Some parts with komal ga could point to Pahadi .
There is also a part with komal dha , which comes before shuddha Dha . With the chord accompaniment used , it sounds like a western modulation to the 6th degree .
One part with tivra Ma goes into Kalyan territory .

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सहस्रनाम ततुलयम राम नाम वरानने |
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Christianamr

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Reply with quote  #10 
Chapter 8 : Attaining the Supreme



The first part is in Desh with some phrases in Jaijaiwanti . Some small parts have komal dha and komal ni that sound like Jaunpuri or Charukeshi .
Then when the taal changes to a ternary meter ( Dadra prakar ? ) , Bhoopali is used .

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सहस्रनाम ततुलयम राम नाम वरानने |
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Christianamr

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Reply with quote  #11 
" Chapter 9 : The Most Confidential Knowledge "



Seems to be basically Jogiya , maybe some parts in Gunkali .
Then some verses are quite clear to distinguish , when they are fully in Bibhas and Bairagi .

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सहस्रनाम ततुलयम राम नाम वरानने |
Sahasranāma tat tulyam Rāma nāma Varānane .
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