Raag Brindavani Sarang Tutorial. Chalan followed by Ektal Drut and notation from 14:30 onwards. Lyric from Kramik Pustak Malika, recomposed by myself. Mori Guiyyaan Najariyaa Laagi Man Bibas Bhayo Biraagi Rain Din Girdhaari Laalke Rangme Rahu Anuraagi #brindavanisarang #brindavani #brindavanisarangektal #brindavanisarangmoumitamitra #brindavanisarangtutorial #ragatutorialseriesmoumitamitra #brindavanisarangtutorialmoumitamitra | Moumita Mitra

Raag Bahar Sarang Tutorial. Chalan followed by a Traditional Ektal bandish recomposed in Tintal by myself. A blend of Bahar and Brindavani Sarang Kafi Thaat. P R Vadi samvadi Both Nishads used, occasionally Komal Ga in Taar as Bahaar ang. Bahaar Ang : g M D N S' g M n D N S' S' D n P g M D N S' R' g' R' S' Sarang Ang: P M R S R S M R S R ,N S n P M R S n P is a common joining phrase between the two raagas Aroh : S g M D N S' Avroh : S' n P M R S Lyric Bamnaa Sagun Vichaar Kub Aaoge Piyu More Dwa

Raag Samant Sarang Tutorial. Chalan with differences explained with similar Raagas like Brindavani Sarang, Miyanki Sarang, Sur Malhar and Madhmad Sarang. Tintal bandish with notation. 2 versions with only Komal nishad and 2 nishads Proportion of Dha is long and also used in Arohi Anga. S R M P N S' S' n D P M R S In only Komal nishad version, the charha Hua Komal nishad is used as 2nd Ni. As per Ustad Ali Akbar Khan's notation; more P MR S or P R S used than long M - R S, to separate it from Bri