That reminds me of this unbelievable performance (which you would most probably have heard, if not here, then at least in some movie or cartoon, because it's a somewhat common pop-culture reference too): youtube.com/watch?v=YuBeBjqKSGQ
Whereas in Harimuraleeravam, the extended singing and the three-octave sangati immediately after that were done naturally, and, as is probably well-known, deliberately designed by Raveendran to show that Yesudas could still sing like that (because he'd been annoyed by some people's disparaging remarks about Yesudas' voice at the time)
@Malavika Yes, I remember that (unlike Harimuraleeravam), this is a case where the audio was edited to make it look like it was done at a stretch. As I recall, Yesudas, in an interview or something, was appealing to contestants in music competitions not to attempt that, or maybe not to feel disappointed at not being able to do that, because it was actually achieved by manipulating the audio recording, and he did not sing it like that in real life
As he explains, there's a special swarakshara prayoga here. Every "ma" in the sahitya (and there are many more than usual) also correspond to the swara M
@Malavika All three are ragamalikas, though Sudhamantram is an unusual one compared to the other two. But again, all three are not the usual kind of ragamalika where you just change the raga by changing the scale. These change the raga by staying on the same scale but changing the tonic. So the notes are all the same but the raga is different
Bhavayami has the more conventional grahabhedam (and it also uses different ragas in the usual ragamalika form, not via grahabhedam), so it's much easier to sing if your voice is trained enough (of course there are physical difficulties in terms of speed and range, which is a completely different matter, and can even apply to say, Harimulraliravam or Pramadavanam).
Also, it is different from the usual grahabhedam because the shift is not to a note that's present in the raga. Instead, what he does is shift the shadjam one swara down (i.e., one semitone down), and keep the other notes in place, which gives a new raga that actually cannot be obtained by pure grahabhedam
As to why I consider Sudhamantram more difficult… Normally the grahabhedam is done for a new line, in a composition, or in swaraprastara, again you get some gap to establish the new aadharashadjam, where you can hold it for some time and then shift to it to get the new raga. But in Sudhamantram, the shifts are done in a very short span of time, or in one line of the song itself
And there's also his RTP with pallavi Sarigamapadani Padeda, in Natabhairavi, in which during swaraprastara he does grahabhedam and sings all the other possible ragas, the same scales that Shadaj Ne Paya explores (except, starting from Shankarabharanam instead of Natabhairavi)
And you must listen to his Thayaragamalika tillana, which is basically in Kalyani, if you look only at the scale, but is actually a ragamalika because it goes into other ragams (Shankarabharanam, Mohanam, Hindolam, Darbari, as far as I can remember) by grahabhedam.
Of course, nowadays this has become a common thing, and many Carnatic and Hindustani singers do it during ragalapana or swaraprastara — notably, Balamuralikrishna who used to do this even long ago when it wasn't so popular.
@Malavika Ah yes, this is comparable to Sudhamantram and Bhavayami (though I think the former is actually even more difficult, and I'll explain why). The difficulty comes from grahabhedam, which is what all these songs are built on
@Malavika Oh, Vishwabharati was the name of the house, I studied in Bharatiya Vidya Bhavan (which is probably what you were thinking of anyway). I don't really know about anything like Kalolsavam related to my school, but that's just my general lack of ignorance in these matters. I'm sure something like that exists
@Malavika I have something called "WinCompose" installed that allows me to type Unicode characters using some key combinations (which is most useful for mathematical discussions in chat), so I can easily get this using the combination [Compose] t h (the pronunciation of the letter is close to "th")
Ragamalika
Sarvalaghu
Ragamalika
Sarvalaghu