RaagKosh sample
John Campana
Created raags:
Chandranandan
This raag was created by Ustad Ali Akbar Khan. Its main poetic impetus is derived from the image of Krishna and the gopis playing with the moon, hence its name: "chandra", the moon and "anand", bliss.
Khansahib has composed many instrumental gats in this raag and set them to different taals. The stately Dhamaar taal, however, seems to be the most frequently used. Various vocal compositions, including a "Bengali style" khayal and taranas exist in Chandranandan. It is made up of four raags which are blended to produce a distinct melodic entity. The raags are:
Malkauns: S g m d n S'/S' n d m g S
Chandrakauns: S g m d N S'/S' N d m g S
Nand Kauns: S G m P m D n S'/S' n D P m G S g S
Kaushi Kanada: 'n S- m - mg - Pg - m n d - nS'/m' g' R' S' - n d m -
Pg- m g R S
Raag: Chandranandan
Thaath: Asavari
Aroh: S G m d n S'
Avroh: R' S' n d P m G m g S
Vadi - m
Samvadi - S
Jati: Shadav-sampurna
Time: 8 PM - 3 AM
Chalan: S 'n 'd 'n S m g R^S, G m d PmP d S'^n d^m m(N) S',
S' R'n dnd g'R'S', S'R' m'R'S'n S'S'(N) S'R'n d Pm, m P
GmG mdmnPg d (N) R'n P(G) mPmg SmgS R S 'n 'd 'n m g S
As for ras, it was omitted here since, like many of you, I believe it
is purely personal. There is karuna, bhakti and shanta in
John Campana
While editing it appears that a whole paragraph got munched and only
my name was left. I had forwrded the sample by expressing my thanks to
all those who have sent in names of raags and physiognomies
especially. I would like this to continue if possible. Special thanks
to Arijit Mahalanabis who submits the following entry for your perusal:
Sarangkauns:
Aroh: S R m d n S'
Avroh: S' n d m R S
Jati: audav audav
Pakad: S R m. m R, d m, R 'n S
This raag seems to be credited to Begum Parveen Sultana, although the
pen-name used in the bandish is Dinrang which is suggestive of Dinkar Kaikini.
The structure of the raag is very straight forward. We arrive at the
Sarangkauns scale by replacing ga of Malkauns with shuddh rishab. The
chhaya of Sarang appears to be very weak.Indeed, aside from the fact
that the scale ascends with S R m as Sarang family raags, there seems
to be little of Sarang in the exposition itself. Instead, the
Malkauns elements clearly dominate the chalan:
S R m, R m d m, d n S', S R m, R m, S R, 'n S, d n d m R, R m R 'n S;
SRmdnS', SRnRm, Rm, SR n d m, R m S R, 'n S
Malkauns is kept from overwhelming this raag by the use of Rishab,
which is extremely strong, as indicated by the above passages. Dhaivat
is also an important pivot in this raag. It functions as the gateway
to the upper tetrachord the Malkauns features chiefly reside:
S R n R m, Rmdm, dn, dndm, dnS', nS'R', S R m. R, nd, dm, R 'n S
This raag seems to be best suited for dusk and the early part of the
night. The vadi/samvadi seem to be R and d.
Arthur Levine
>Sarangkauns:
>
>Aroh: S R m d n S'
>Avroh: S' n d m R S
>Jati: audav audav
>Pakad: S R m. m R, d m, R 'n S
>
>This raag seems to be credited to Begum Parveen Sultana, although the
>pen-name used in the bandish is Dinrang which is suggestive of Dinkar Kaikini.
"Dinrang" is the nom-de-plume of Dinkar Kaikini, as you say, but I
chekced his bookm and there is nothing in Sarang Kauns.
>
>The structure of the raag is very straight forward. We arrive at the
>Sarangkauns scale by replacing ga of Malkauns with shuddh rishab. The
>chhaya of Sarang appears to be very weak.Indeed, aside from the fact
>that the scale ascends with S R m as Sarang family raags, there seems
>to be little of Sarang in the exposition itself. Instead, the
>Malkauns elements clearly dominate the chalan:
>
>S R m, R m d m, d n S', S R m, R m, S R, 'n S, d n d m R, R m R 'n S;
>SRmdnS', SRnRm, Rm, SR n d m, R m S R, 'n S
>
>Malkauns is kept from overwhelming this raag by the use of Rishab,
>which is extremely strong, as indicated by the above passages. Dhaivat
>is also an important pivot in this raag. It functions as the gateway
>to the upper tetrachord the Malkauns features chiefly reside:
>
>S R n R m, Rmdm, dn, dndm, dnS', nS'R', S R m. R, nd, dm, R 'n S
>
>This raag seems to be best suited for dusk and the early part of the
>night. The vadi/samvadi seem to be R and d.
A couple of thoughts. First, replacing the ga of Malkauns with re,
IMO, essentially undermines the identity of the rag. But, the name
being what it is, your derivation must be correct. When I looked at
the notes, it struck me that the only difference from Gorakh Kalyan is
the Shuddha Dha vs. Komal Dha. I wonder if "listening" from the
vantage point of Gorakh Kalyan might not change one's perception. My
turntable is being repaired, so I can't chekc it myself right now.
Also, I'm sure there must be a Carnatic analog for this rag. I wonder
what it's called.
>>
>>Created raags:
>>
>>
>>Chandranandan
>>
>>This raag was created by Ustad Ali Akbar Khan. Its main poetic impetus is derived from the image of Krishna and the gopis playing with the moon, hence its name: "chandra", the moon and "anand", bliss.
>>
>>Khansahib has composed many instrumental gats in this raag and set them to different taals. The stately Dhamaar taal, however, seems to be the most frequently used. Various vocal compositions, including a "Bengali style" khayal and taranas exist in Chandranandan. It is made up of four raags which are blended to produce a distinct melodic entity. The raags are:
>>Malkauns: S g m d n S'/S' n d m g S
>>Chandrakauns: S g m d N S'/S' N d m g S
>>Nand Kauns: S G m P m D n S'/S' n D P m G S g S
>>Kaushi Kanada: 'n S- m - mg - Pg - m n d - nS'/m' g' R' S' - n d m -
>> Pg- m g R S
Query: what is Nandkauns?
>>
>>Raag: Chandranandan
>>Thaath: Asavari
>>Aroh: S G m d n S'
>>Avroh: R' S' n d P m G m g S
>>Vadi - m
>>Samvadi - S
>>Jati: Shadav-sampurna
>>Time: 8 PM - 3 AM
>>Chalan: S 'n 'd 'n S m g R^S, G m d PmP d S'^n d^m m(N) S',
>> S' R'n dnd g'R'S', S'R' m'R'S'n S'S'(N) S'R'n d Pm, m P
>> GmG mdmnPg d (N) R'n P(G) mPmg SmgS R S 'n 'd 'n m g S
>>
Suggestion: for such a complex rag, in terms of its putative melodic
sources, it would probably be a good idea to "trace" specific elements
of the chalan to specific source rags. This is a feature found in a
number of books, such as Ramashraya Jha's *Abhinava Geetanjeli*. IN
fact, even though I can't understand most of what he's saying, it
seems clear that his discussions of rag are among the most thorough in
print. One of the things that he frequently includes is a detailed
discussion of each swar, indicating how each one is to be taken, in
terms of aroha-avaroha, meends, grace notes, general emphasis, and the
like. THESE BOOKS MUST BE TRANSLATED. It seems to me that, although it
may not be possible to provide this kind of detail, it would be a good
idea to, say, go one level deeper by indicating something about the
"colouring" or the weighting. In a way, of course, you have done that,
but I am also thinking of the sort of thing comparable to, e.g. the ga
of Jaunpuri, which always has ma with it. This is the "Jaunpuri ga",
if you know what I mean. (The only I mention Jaunpuriis that I've been
studying it lately.)
Another suggestion. For vocal music, perhaps the words of the
composition, if you can tell. (I can't tell, BTW)
Art
John Campana
You are quite right about Gorakh Kalyan. My apologies to Arijit who
had also remarked on the possibility. I guess the RaagKosh should not
exclude controversy or added insight. Here is what Arijit says: "At
the risk of sounding obnoxiously arrogant, wouldn't the name
Gorakhkauns be a better choice for this raga? We can arrive at the
Sarangkauns scale from Gorakh Kalyan by simply flattening dhaivat in
the GK scale, whereas the relation with Sarang seems extremely
dilute... Again there is a similarity in the way Rishab is used in GK
and Sarangkauns."
John
Arthur Levine
- re Sarang kauns : gorakh kalyan
>
>You are quite right about Gorakh Kalyan. My apologies to Arijit who
>had also remarked on the possibility. I guess the RaagKosh should not
>exclude controversy or added insight. Here is what Arijit says: "At
>the risk of sounding obnoxiously arrogant, wouldn't the name
>Gorakhkauns be a better choice for this raga? We can arrive at the
>Sarangkauns scale from Gorakh Kalyan by simply flattening dhaivat in
>the GK scale, whereas the relation with Sarang seems extremely
>dilute... Again there is a similarity in the way Rishab is used in GK
>and Sarangkauns."
>
- Great minds think alike, no? The joys of synchronicity!
Art
