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आदरणीय वीणा जी 🙏🇮🇳🚩

Wonderful Purvikalyani.

What crystal clarity and depth!

This is a layman's guide to Raga Sangeet

Appreciable.

Outstanding...thanks for sharing this 👍🏼🙏🏽

Speechless 💕🌹💐🙏🏼

Three closely linked but distinctly different raags explained succinctly ! The slow tempo of Puriya, less usage of Shadj in Marwa and chanchal pravritti of Sohni become crystal clear through this demonstration. Very valuable indeed🙏🏽

खूपच छान. आणखीन काही रागांचे तुलनात्मक विवेचन आपणा कडून ऐकायला मिळावेत ही नम्र विनंती 🙏

Veena tai... Missing you here...I am sure you are making souls happy wherever you are...❤

Thanks .....very useful 😊

Just speechless after listening it. Thanks for uploading.

One of the most useful video for students !!

Marwa is not good

What a voice yar ...so loud and clear magnificent kitihi vela pahile tri man bharat nahi ...bow to veena taai.

Thaxew guru ji

I will be learning rag puriya soon. I have already learnt rag marwa. So I need to keep them straight without getting confused. This video will help

Great loss to the world of hindustani classical music. RIP madame

Very informative

Wah bahot khoob

She was a godess of music😢😢😢

Pranamam

So well elucidated. Outstanding musician and a scholar too.What a loss to the music fraternity. Pranam taayi

I am sure RKS knows this but if any other newbies( like me) come onto this. Guruguho does not always mean it is Dikshithar's. Some Oothukaadu compositions.. but it's positioning will be different. In Dikshithar's, it is always at the end of the charanam. For egs. OoThukaadu's Eka Dhantham Vinayakam in Nattai has guruguho in pallavi itself. Of course some Tanjore quartet compositions also( but that is understandable). Again Thyagarjaya Namasthe of Dikshithar. More confusing is Shri Nilotpalanayike in Reethigowlai of Dikshithar, which has the line vitanka Thyagaraja mohita towards the end of the charanam. Said with no disrespect to the artist, who I admire enormously.

I have not leant any other Manji. This is my first. I knew natabhairavi janya.. so when I heard the ti of kamakoti,I got thrown hearing D2.. then found it allows in PDNS phrase. Coming down he has used D1 in valaye.. use of both Dhaivatam demonstrated.. very nice

incredible

such an awesome singer and teacher ...missed chance of meeting her....such balance and detailing in her teaching....purely devine.......

Super

For sure Carl. Lost a great teacher. RIP

Great loss to music lovers. RIP Madam..

it is 'chintaya makanda'......not chintaya mam......pls change it...is a disrespect for shri dikshithar by changing the lyrics of his composition

Bahut khoob. Thank you for sharing

crisp and nice - v proud of you two! keep it up!

very nice!!! Beautiful!

I keep listening and listening to this video by Pta Veenatai as it most succinctly distinguishes the amazing triplets...

plz explain th differences between raagas--i like yor style n value yor teaching--verywell

awesome!simply great.

You brought tears to my eyes listening to all three ragas. May Saraswati mata keep her blessings on you for ever. Saadar namaskar

Qya Baat Hai Pranaam

She was in IIT Kanpur campus, when I was a student there. Her husband H.V.Sahasrabuddhe was a professor in computer science. I have heard her and her brother Kashinath ji Bodas live many times.

fantastic

Goddess of Gwalior Gharana.... Veena tai is really awesome !!!

A true Goddess! Every time I hear her sing, she leaves me emotionally involved!

Those who sings Classical music are so close to god that whenever they speak, it seems that god is speaking to us.

My life will be complete when i get the chance to touch this Goddes feet and seek her blessings :)