Raga phrases from compositions

Ajouté : 2026-05-02

[00:00:00]Namaskar. Namaskar.

[00:00:03]We are always told that in order to understand a ragam better, we should learn the compositions in that.

[00:00:11]>> But again further going down, what do we do with the composition? How do we break it down? How do we understand the phrases of a raam from a composition? How do we do that technically?

[00:00:28]Why do we elaborate raal as an introduction for the composition?

[00:00:36]Uh for a lay man listener how much you elaborate the alapana for 5 minutes, 7 minutes or 8 minutes when the kiti starts then only he understand oh this is the raa then only he can say the name of the raa it is happening because he doesn't know the aroha and the conditions and this sw is like this this is sharp this is flat he doesn't know all these things he only knows This composition is set to this raa.

[00:01:08]>> So we must adopt phrases from the composition >> you can say not only adopt you must always think the phrases which are connecting to the composition. It conveys the color of the raa and one more advantage is it is easy to connect easy to remember and then elaborate the alapana and you can easily uh bring the color of the raa and it will be connected to the listeners also.

[00:01:38]So how we it is possible we can pick some composition and try this sarasi namask. So the song starts like this.

[00:01:56]Song starts like this.

[00:02:25]So all these are pomegranic.

[00:02:30]So many variations of >> so many variations you are applying pause some kind of dynamics you are repeating the note and from where you are dragging that P all these things are different see same thing without pass so all these are the options for the pomegary >> if you add one more note for this at the end or at the beginning >> it'll be different. See for pageri the same thing.

[00:03:08]>> Can you play here?

[00:03:22]Same thing you can do like this.

[00:03:48]That mama la.

[00:04:12]In this way you can build up so many phrases and combine these phrases. You can remember this easily. No. Yes.

[00:04:19]>> Yeah. Let us try the same in another raa. Okay.

[00:04:23]Which one?

[00:04:25]Okay. We can try song comes like this.

[00:04:43]Yeah, sure. I Fore see split dy.

[00:05:43]Danny, the all the connections also.

[00:06:02]>> Ah, you have to focus on the connection.

[00:06:22]There is also so much of speed variation also.

[00:06:25]>> Speed variations. So you can apply speed variations. You're going to play pauses and multiple is more connected to the manodharm kalpanas. Even in Raam you can in the reverse order.

[00:06:55]All these things are from all these phrases you can land on sa Dana just ultimate there.

[00:07:42]Can we approach another simpler composition? We attempted Arabi and to which are very daring. Can we look at a simpler ki maybe like hamsi >> matapi from vatabi also you can derive like this. See vati for that word you have so many variations. See Okay.

[00:08:22]How to make this in a ragalapana for format? It is different. No.

[00:08:31]Can you play?

[00:08:58]Heat. Heat.

[00:09:20]Exactly the in the >> the order of the >> order of the uh phrases. No, the same way uh you can end with another phrase for all these phrases you can uh select any other ending phrase like >> okay like and like an end tag.

[00:09:40]>> Ah end tag said end tag. What do you mean by tag?

[00:09:46]>> If you do something and then it must be highlighted then you use a tag there.

[00:09:51]No.

[00:09:56]So it's similar. Now >> if you attach anything >> at the end of the phrase >> brings in more highlight and attention.

[00:10:09]>> It will be more highlight.

[00:10:34]Okay.

[00:10:47]Heat.

[00:10:55]this.

[00:11:02]Can you try >> very long phrase with just we are switching we are combining the phrases that's all a concept Then the last phrase.

[00:11:57]Very interesting.

[00:11:59]Thank you. Thank