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Chandrakauṅsa

ṬhāṭaN/A

Jāti: auḍuva / auḍuva

Āroha / avaroha: Sa ga ma dha Ni Ṡa / Ṡa Ni dha ma ga Sa

Vādī / Samvādī: ma / Sa

Prahara: 9 pm - 12 am

Pakaḍa: ga ma ga Sa, Ṇi ḍha Ṇi, Sa (Abhinava Gītanjali).

Chandrakauṅsa is an ancient raga, listed in Meṣakarṇa's Rāgamāla and Faqirullah's Rāga Darpana (Jor et al., p.54). However, the Chandrakauṅsa we hear today is much more recent. This raga, attributed to Professor B.R. Deodhar (Kaufmann, 1968, p. 436), is obtained by replacing the komal ni of Malkauṅsa with a śuddha Ni. The ascending and descending scale is direct and, as for Malkauṅsa, the svara are linked with long glissandos (mīnḍa), especially in ālāpa. Although ma is considered vādī svara, the distinctive character of Chandrakauṅsa comes from the strong presence of śuddha Ni. Concluding phrases on this svara creates a melodic tension that can provoke a haunting musical experience.

Calana;
Sa ḍha Ṇi Sa, Sa ga ma ga Sa Ṇi, ḍha Ṇi Sa ga Sa, Sa ga ma dha, ga ma dha Ṡa Ni, ma dha Ni dha Ṡa | Ṡa Ni dha ma, ga ma dha ma, ga ma ga Sa.

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Rāga Chandrakaunsa, vilambita tīntāla - Jonathan Voyer, Uday Kulkarni
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Rāga Chandrakaunsa, vilambita rupaktāla - Jonathan Voyer, Uday Kulkarni
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Textual references:

  • Bor, J. et al. (2002). The Raga Guide: A Survey of 74 Hindustani Ragas. Netherlands: Nimbus : Rotterdam Conservatory of Music, p. 54.

  • Jha R. (2018) Abhinava Gītanjali, Vol 1, pp. 197-198.

  • Kaufmann, W. (1968). The rāgas of North India. Bloomington, London: International Affairs Center by Indiana University Press, pp. 435-437.

  • Rao, B. S. (1980) Raganidhi: A Comparative Study of Hindustani and Karnatak Ragas, Volume One (2e Edition). Madras: The Music Academy, Madras,  pp. 136-137. 

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About 
Note on Transliteration

This site was created by Jonathan Voyer as part of a postdoctoral research-creation project carried out with the collaboration of Pandit Satish Vyas and Dr. Maneesha Kulkarni, professor at the music department of Mumbai University. This project was funded by Fonds de recherche  du Québec (FRQSC).

We opted for transliteration rather than transcription.  We use the system of the "International Alphabet for Transliteration of Sanskrit" (IAST).Thus, the term " बंदिश " is transliterated into "bandiśa" and not transcribed into "bandish". All the transliterated terms are neutral and written in italics, with the exception of names (including the name of ragas, e.g. Ahīra Bhairava). The vowel "a" attached to the final consonants is preserved for uniformity. The terms already translated in English are written as such, we will read "raga" and not "rāga".

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