Samprakritik – the word itself defines that the ragas which share similar nature and swars but different gaayan- vaadan padhati (styles of playing and singing), chalan (flow), vadi, samvadi, aroha, avaroha, nyasa swar, samay (time) are called Samaprakritik Ragas. The practice of Samaprakritik Ragas is of utmost importance to the singer, as with its help, the raga being sung can be presented in its pure form. Eg: in Bhimpalasi raga, Bageshri raga and Kafi Raga, Gandhar and Nishad are komal. In both Bhimpalasi and Bageshri,the vadi-samvadi are Madhyam-Shadaj, but in Bageshri raga the uthav is - Nị Sa Ga Ma Dha Ni Sȧ while in Bhimpalasi raga it is - Nị Sa Ga Ma Pa Ni Sȧ. Bageshri ragas and Kafi ragas are sung in the night hours, while Bhimpalasi ragas are sung in the afternoon. Therefore these three Ragas are called Samaprakritik Ragas. Similarly, Marva, Puriya and Sohni and Kedar, Hamir, Gaudsarang and Chayanat are also Samaprakratik Ragas. Inspite of the varying raga chalan and nyasa swar, they still fall in the category of Samaprakratik Ragas owing to swar samya (similarities of swars).