chandrakauns
Geeta Sadashivan
Hi
Can someone enlighten me on Raga Chandrakauns? Is it only there in the
Carnatic system? What does "Chandrakauns" mean? What are some famous
compositions in this raga? What are its peculiarities/ qualities?
Thanks
Surajit A. Bose
Geeta Sadashivan <geet...@rigel.oac.uci.edu> wrote:
In Hindustani music, Chandrakauns is a variant of Malkauns (Karnatic
Hindolam) that replaces the komal nishad with shuddha nishad. The ragaąs
aroh avroh is thus:
Sa, komal Ga, shuddha Ma, komal Dha, shuddha Ni, Sa
Sa, shuddha Ni, komal Dha, shuddha Ma, komal Ga, Sa
The vadi is shuddha Ma, the samvadi sa. It is sung late at night. The raga
is a fairly new raga and descriptions of it are not found in older
treatises. Despite its being quite new, it has already given rise to a
couple of janya ragas, e.g. Jog Kauns, which is a beautiful mixture of Jog
and Chandrakauns, and Madhukauns, which is obtained by moorchana--using
the same set of notes but taking Madhyam as shadja.
Bhatkande has a description of Chandrakauns but it is a different raga
from the one that is usually heard by that name. Bhatkandeąs Chandrakauns
is as follows:
Sa, komal Ga, shuddha Ma, shuddha Dha, komal Ni, Sa
Sa, komal Ni, shuddha Dha, shuddha Ma, komal Ga, Sa
This raga is like Bageshree but leaving out the re and pa. Nowadays it is
usually called Chandrakauns Bageshree Ang.
There is a recording of Chandrakauns sung by Hiradevi Badodekar and
Saraswati Rane (AIR); recordings of Jog-Kauns by Veena Sahasrabuddhe
(Venus) and Kunda Weling (CBS); of Madhukauns by Veena Sahasrabuddhe
(Rhythm House) of Chandrakauns Bageshree Ang by Malini Rajurkar (HMV) and
Prabhakar Karekar (Rhythm House). Instrumental performances are also quite
easy to find.
WARVIJ
The standard Chandrakauns (malkauns with shuddh
nishad) is also referred to as "lehra" chandrakauns
because of the prevalence of this raag in lehras for
tabla and pakhawaj solo.
Compositions by the late Ustad Mohammed Hussain
Khan in Chandrakauns (and by a few other artists including
my guru, Pt. Devasthali), include a shuddh Re in the
taar saptak. It's highly effective and does not disrupt
the raga's mood in the least. But this is a definite
deviation from common practice.
Warren Senders
Original music blending Indian and Western traditions;
Hindustani vocal music -- Khyal & Thumri --
"Beauty in music is too often confused with something
that lets the ears lie back in an easy chair."
-- Charles Ives --
For info (617) 643-0206
Warren Senders
PO Box 38-1634, Harvard Square
Cambridge, MA 02238-1634
Rajan P. Parrikar
In article <54ec75$m...@newsbf02.news.aol.com> war...@aol.com (WARVIJ) writes:
>The standard Chandrakauns (malkauns with shuddh
>nishad) is also referred to as "lehra" chandrakauns
>because of the prevalence of this raag in lehras for
>tabla and pakhawaj solo.
>
>Compositions by the late Ustad Mohammed Hussain
>Khan in Chandrakauns (and by a few other artists including
>my guru, Pt. Devasthali), include a shuddh Re in the
>taar saptak. It's highly effective and does not disrupt
>the raga's mood in the least. But this is a definite
>deviation from common practice.
By the way, the late Shri Chidanand Nagarkar has developed a Raga which
goes by the name of Kaushikranjani and it is in essence the current-day
Chandrakauns with the shuddha rishab used in a vakra manner
in the avaroha. Quite an interesting piece of innovation. The
shuddha rishab here makes its presence felt in no uncertain terms
rather than the weak treatment in an otherwise normal C'Kauns that
Shri Senders describes above.
r
WARVIJ
Rajan Parrikar writes:
>The
>shuddha rishab here makes its presence felt in no >uncertain terms
>rather than the weak treatment in an
>otherwise normal C'Kauns that
>Shri Senders describes above.
Although the treatment of Re seems to be a highly
variable thing. I have a recording of the Dagars
doing their "Chandrakauns" in which they linger
on the taar Rishabh fairly heavily, and one or two
of the bandishes I learned lean on that note as
well.
However, there is a substantial affective difference
between this version of Chandrakauns and Pt. Nagarkar's
raag, only one performance of which I have heard
(and thoroughly enjoyed -- he's really got a nice
approach). But barring some time spent transcribing
and analyzing I'm not prepared to make exact pronouncements
as to the nature of the difference -- just that it's very much
audible.
Warren
Rajan P. Parrikar
Shri Warren "Safedrang":-) Senders writes:
>However, there is a substantial affective difference
>between this version of Chandrakauns and Pt. Nagarkar's
>raag, only one performance of which I have heard
>(and thoroughly enjoyed -- he's really got a nice
>approach). But barring some time spent transcribing
>and analyzing I'm not prepared to make exact pronouncements
>as to the nature of the difference -- just that it's very much
>audible.
Relying on treacherous memory -
The rishab is used in a vakra manner as:
d N d M, M g R...R g M g R...S
r
Vinay Dabholkar
We have a recording of raga Shyamkauns by
Parwin Sultana (cheez: barajori karo na). It
appears to be a variant of Chandrakauns. Does anyone
know how this raga goes ?
vinay
Mohan Parthasarathy
>Hi
>
>Can someone enlighten me on Raga Chandrakauns? Is it only there in the
>Carnatic system? What does "Chandrakauns" mean? What are some famous
>compositions in this raga? What are its peculiarities/ qualities?
>Thanks
Chandrakauns is borrowed from Hindustani. I think the only closely resembling
raag is "Kalyana Vasantham". The resemblance i mean here is the mood which
might be subjective. The extra note is "P" and "R" (Shuddh)
in Kalyana vasantham. Chandrakauns is Hindolam with "N" changed to
Shuddh.
-mohan
Srini Pichumani
In article <54ghvo$g...@engnews2.Eng.Sun.COM>, Mohan Parthasarathy
>
>Chandrakauns is borrowed from Hindustani. I think the only
>closely resembling raag is "Kalyana Vasantham". The resemblance
>i mean here is the mood which might be subjective. The extra
>note is "P" and "R" (Shuddh) in Kalyana vasantham. Chandrakauns
>is Hindolam with "N" changed to Shuddh.
Balamurali's composition (kriti)
nI sATi nIvE rangA nirata natAntarangA
is in this raga if I am not mistaken... the opening
is quite lovely, but I don't remember the rest of it.
For whatever reason, the raga name is written/announced
as Chandrikaa !
Seerkazhi Govindarajan used to sing a beautiful
devotional song in this raga which starts off as
ARudalai vazhangum Aru talai irukka
anjudalai nIkkuvAi
-Srini.
david philipson
Rajan P. Parrikar wrote:
> Relying on treacherous memory -
>
> The rishab is used in a vakra manner as:
>
> d N d M, M g R...R g M g R...S
>
> r
Malini Rajurkar has a very good recording of Kaushikranjani.
d
--
david philipson
dphil...@earthlink.net http://home.earthlink.net/~dphilipson/
bansuri {the north Indian bamboo flute}
north Indian classical music/creative music
Shankar Iyer
In <54gnha$1...@news.eecs.umich.edu> sr...@quip.eecs.umich.edu (Srini
SAIRAM. As Shri Srini Pichumani shares above, Chandrakauns has been
used quite extensively for rendering devotional songs and also in cine
music. For example, here are a couple of Yesudoss songs:
'Nalla manam vazhga, nAdu poRRa vAzhga' in Oru UtAppU kaNN
Chimittukiradu
'Anda kadAgangaL chiragodich-uNarumpOL agrE pashyAmi' a
Malayalam devotional song on Lord GuruvAyUrappan
IMHV, ragas like Chandrakauns and Kalyanavasantham help in setting the
mood of the supplicant bhakta. Can more knowledgeable musicians share
more on this aspect? Thanks. SAIRAM. SAI 10/22/96
Vijay Ganesh Hariharan
Sowmya sang a wonderful Chandrakauns in a house concert in MD last year. The
song was "kandena kanasithalee govindana..". The alapanai was just excellent.
I never get tired of listening to that piece. The cassette of that concert is
sold at the Siva Vishnu temple in Lanham, MD and is certainly a worthy buy.
vijay
On 21 Oct 1996, Srini Pichumani wrote:
> In article <54ghvo$g...@engnews2.Eng.Sun.COM>, Mohan Parthasarathy
> <moh...@ahiri.eng.sun.com> wrote:
> >
> >Chandrakauns is borrowed from Hindustani. I think the only
> >closely resembling raag is "Kalyana Vasantham". The resemblance
> >i mean here is the mood which might be subjective. The extra
> >note is "P" and "R" (Shuddh) in Kalyana vasantham. Chandrakauns
> >is Hindolam with "N" changed to Shuddh.
>
> Balamurali's composition (kriti)
> nI sATi nIvE rangA nirata natAntarangA
> is in this raga if I am not mistaken... the opening
> is quite lovely, but I don't remember the rest of it.
> For whatever reason, the raga name is written/announced
> as Chandrikaa !
>
> Seerkazhi Govindarajan used to sing a beautiful
> devotional song in this raga which starts off as
> ARudalai vazhangum Aru talai irukka
> anjudalai nIkkuvAi
>
>
> -Srini.
>
>
Vijay G Hariharan
vha...@umbc.edu
Shashidhar N S
Warren Senders wrote:
>
>Although the treatment of Re seems to be a highly
>variable thing. I have a recording of the Dagars
>doing their "Chandrakauns" in which they linger
>on the taar Rishabh fairly heavily, and one or two
>of the bandishes I learned lean on that note as
>well.
>
"Highly variable" is right. Even within the Dagar
family.
The late Z M Dagar's version of Chandrakauns
(Chandrakauns, Jog. HMV. 1974) makes use of komal rishabh
in the madhya sthayi. Its use is fleeting yet unmistakable
and occurs in the jor portion.
Shashidhara
Mohan Parthasarathy
>about Kalyana-vasantham in particular). Like does anyone percieve the
>Carnatic Hamsadwani or Nattai to be evoking sadness? I would doubt it.
Probably Balamurali can evoke sadness with these raag :-). If one
tends to get philosophical, analytical about the aspect of mood
that a raag evokes, then there can be a lot that can be said about
it. I remember faintly that Balamurali demonstrated one such thing.
Again it depends on how you define the Raag. That's why Balamurali's
alaapana is distinctly different from anybody else. If it takes
20 seconds to find out Charukesi in TVS/Maharajapuram Santhanam it
will take atleast 2 minutes in Balamurali's alaapana. Dont take numbers
literally.
-mohan
Mohan Parthasarathy
> Nalla manam vazhga, nAdu poRRa vAzhga' in Oru UtAppU kaNN
> Chimittukiradu
> 'Anda kadAgangaL chiragodich-uNarumpOL agrE pashyAmi' a
> Malayalam devotional song on Lord GuruvAyUrappan
How about "Kaanji Pattuduthi, Kasthuri Pottu vaithu"
- one of the best Kalayana Vasantham scored by MSV in Vayasu Ponnu.
Illayaraja has done one song with Bageshwari drifting into Kalyana
Vasantham - "Sanga Tamil Kaviye" in Manathil Urudhi Vandum..
-mohan
V. Chandramouli
In article <54ghvo$g...@engnews2.Eng.Sun.COM>, moh...@ahiri.eng.sun.com (Mohan Parthasarathy) writes:
|> Chandrakauns is borrowed from Hindustani. I think the only closely resembling
|> raag is "Kalyana Vasantham". The resemblance i mean here is the mood which
|> might be subjective. The extra note is "P" and "R" (Shuddh)
|> in Kalyana vasantham. Chandrakauns is Hindolam with "N" changed to
|> Shuddh.
|>
|> -mohan
I agree. I was about to post that while Chandrakauns appears to be borrowed
from the H system, Kalyana vasantham appears to give a similar bhavam/mood.
While one should be always wary of subjectivity in trying to have an objective
(pardon the usage) discussion on the moods associated witha a raga, certain
ragas seems to always evoke a similar mood to most people (I am not talking
about Kalyana-vasantham in particular). Like does anyone percieve the
Carnatic Hamsadwani or Nattai to be evoking sadness? I would doubt it.
--Chandramouli
K. Rajaraman
Since film songs are talked about, let me add some more.
Kalyana vasantham :
Ninnaye rathi endru - Kanne kaniyamudhe
A cute song tuned by T. Rajendar in this vague movie, in which
this is the only rememberable aspect. (Lyrics: Bharathiyar)
Chandrakauns:
Azhugu malarada - Vaidegi kaathirunthal (Ilaiyaraja)
Velli chathangaigal - Kathal oviyam (Ilaiyaraja)
These songs seem to use N2 (of Hindolam) also, albeit infrequently.
Is there a special name for this raga?
There's also a P. Susheela oldie "Maalai pozhuthin mayakkathile" on
this raga.
-R.