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.

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