"kauNsi-kaanaDa" vs. "sampoorNa malkauNs"
Rajiv Chakravarti
differences in chalan between the above
mentioned ragas.. Since both the ragas
are auDav-sampoorNa, how would one
delineate "SampoorNa malkauNs" from
"kauNsi-kanaDa"?
Are the phrases:
"d n P, g M R S" and
"S R g P M, g M R S"
etc..
the "emphasis" in KauNsi-KanaDa"???
Also, I vaguely remember from a posting
about 8-9 yrs ago on RMIC that there is
more than ONE prakar/type of kauNsi-KanaDa?
What are the other kinds then?
Hoping to learn from some responses.
A bandish in each as demonstration would
be delightful...
Regards,
________________________
Rajiv Chakravarti
rc...@yahoo.com
Sent via Deja.com http://www.deja.com/
Before you buy.
Arnab Chakrabarty
1. S (n1) d1 - -, n1 S M, G M R S.
2. R n1 S, d1 n1 S n1 P1
3. M1 d1 n1, (g) RS (andolan) (n1)--d1, n1 S, d1n1--S.
4. g M d n P--P-M, g(M)R g M R S
5. S d, g M (d)n P, M d-- N S' (dn) S'
6. n S' g' M' R'--S', n S' R' d n -- P
7. M d n S' (d)n P, g R g M R -- S.
So on and so forth. I have NOT learnt sampUrna mAlkauns, but from what I
have heard, it uses the same tone material as KaunsI kAnadA but dwells
predominantly on the mAlkauns-ang. Most of the vakra kAnadA phrasing is
omitted.
As for bandishes, I will post two here soon. One is "Mo pe karam kI ek
nazar" by Ustad Fayyaz Ahmed Khan, and another is a FerozkhanI bandish by
Pt. Radhika Mohan Maitra. Rajanji, if you know the FAK bandish, would you
be kind enough to post the notation? My guru taught it to me on a
memorable day when I was driving him to the Newark airport - on the last
day of his '98 tour. He said "you have to learn a special bandish today,
and since I am leaving today, you must be able to sing it before we get
to the airport. keep the thekA". So, I started playing a madhyalaya thekA
in tIntAla and Guruji was keeping tAla on my shoulder (his hands are very
heavy and it hurt like a monster, as he tends to wack pretty hard on
anything that his "tAla board"). For two hours, as we battled the traffic
on Garden State Pkwy, he kept singing this exquisite bandish which starts
on the 16th beat.
I have to do homework for my Music Theory class. Will post the bandish
soon.
Regards,
A
In article <8shkg4$i00$1...@nnrp1.deja.com>,
Radha&Rakesh
But they have totally different chalans.
Both have a vadi ma and samvadi sa with no pa in the aaroh.
Kausi kanhara is sung in a couple of ways... one is in he malkauns ang and
the other in the
bagesri ang. yet another is the nayaki anga
frequently there are recordings of some people singing kausi kanhara using
the
madhyam sruti which is the malkauns ang.
Nayaki anga is predominantly nayaki anga and very little malkauns
I was taught both styles of the ragas. Doyens of the agra gharana frequently
sing this raga using this ang.
vadi is sa and samvadi is pa for this anga. There is little usage of ma in
this anga also.
kausi kanhara ( malkauns ang ) ga da ni komal
pa ga ma re sa ,
ma da ni sa ni da ma , pa ga ma re si
re ni sa ma
A famous cheez which I have learnt which comes to mind is
sthayi - "Saadho Ram Anupama bani
poora mila to vaha pada paya "
mita gayi khaicha tani
antara -
ulta nada kawala ke mara gagana mahi samaya
As an example - ga da ni komal
kausi kanhara ( nayaki anga )
ma ga, ma ga, ma pa, ma ga ma re sa,
sa ga ma ga ni ni sa
If that does not confuse you :-)
there is another variant of the kanhara
- bagesri anga which is
sung with just the ga ni komal , dha is not komal.
It goes like this -
sa ni sa , ga ma re sa, da ma ga re sa
ga ma ni pa , ma da da ni pa , ma pa da ma , ma pa ga ma re sa
Now on to sampoorna malkauns -
malkauns is a audav jati raga -
sampoorna malkauns by the very name is sampoorna .
vadi is ma samvadi is sa.
It differs from the malkauns anga kausi kanhara in the way thta the
re and pa is used.
A typical chalan is
ma da ni da ma ga, ma pa ma ga sa re sa which actually defines a usage of re
and pa in this
as opposed to the usage above in kausi kanhara.
With rgds
Rakesh
Arnab Chakrabarty <acwo...@yahoo.com> wrote in message
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