Help, please !!
Rajiv Chakravarti
Could someone explain in detail the differences between
the Hindusthani ragas Sampoorna MalkauNs and KaunsiKaanaDa, Please??
They are almost identical in notes, i think, except for the use
of : g m R S and D n P in KauNsiKanada...
Also, could soneone also explain both the "angs" of KaunsiKanada??
Thanks in advance.
Rajiv Chakravarti
ra...@utacfd.uta.edu
Rajan P. Parrikar
(Rajiv Chakravarti) writes:
>Hello,
>
> Could someone explain in detail the differences between
>the Hindusthani ragas Sampoorna MalkauNs and KaunsiKaanaDa, Please??
>They are almost identical in notes, i think, except for the use
>
>of : g m R S and D n P in KauNsiKanada...
>
>Also, could soneone also explain both the "angs" of KaunsiKanada??
Briefly:
Raga Kaushi Kanada comes in two packages, the Bageshri ang (KK(B))
and the Malkauns ang (KK(M)), respectively. As the names indicate,
KK(B) combines Bageshri with Kanada and KK(M) does the same with
Malkauns.
KK(B)
=====
Aroha: n' S g M n P, M D n S"
Avaroha: S" n P, M P D M, g M R S, n' R S
The gandhaar and nishad are komal. The key elements of Bageshree
are tied to the (g M R S) Kanada package.
KK(M)
=====
Aroha: S g M d n S"
Avaroha: S" n d M P g M R S
For the most part the Malkauns formalism is retained; the
pancham is introduced and merged with Kanada via P Mg M RS.
^
Both these varieties may have local variations as they traverse
gharana borders.
Sampoorna Malkauns
==================
Aroha: S g M d n S"
Avaroha: S" n d M, MP g S R S
^
Malkauns is made sampoorna by offering the other two notes, viz.,
the rishab and pancham. The major departure from KK(M) is the
absence of the Kanada phrase (g M R S) and the subtle treatment
of the pancham.
Rajan[sur ki gati mai kya jaanu...sirf ek bhajan karna jaanu]Parrikar
=====================================================================
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email: ra...@anteng.ssd.loral.com
parr...@mimicad.colorado.edu
ABh...@worldbank.org
From my viewpoint, Malkauns is Malkauns (whether Sampoorna, Pancham or
traditional) and Kaunsi Kaanada is Kaanada. They seem quite different, but I
wouldn't be able to say in what specific ways. However, I do have a thought to
share on the general topic of "What is the difference between Ragas X and Y --
they have the same notes".
To me, notes are just notes -- selected points on the continuum of audible
frequencies. A raga is a way of traversing these points. To use an analogy,
let's think of notes as points on a map -- call them cities. Then the
equivalent of raga would be roads connecting the cities. A given road would
not touch all cities. If two roads connect the same set of cities, they would
still be quite different. A question like "what's the difference between I-95
and US Rt1?" would not arise.
Perhaps that was a poor analogy, but there are many "homotonic" raga
combinations (such as Todi | Multani, Marwa | Sohni | Puriya,
Tilak Kamod | Des, Jaunpuri | Asavari, Bhupali | Deshkar,.....). These
homotones share the same notes measured from the same Shadja. They are,
however, quite distinct musically. The difference is easy to hear but hard to
explain in writing.
Arvind
Shashidhara
>let's think of notes as points on a map -- call them cities. Then the
>equivalent of raga would be roads connecting the cities.
To carry Arvind's urban analogy further, we might postulate
that some of the roads are one-way. This will reflect some
of the grammar of many ragas in which certain note
transitions are not allowed.
Shashidhara