S-gG-m-P-d-n-S

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A poorvang–uttarang blend of Jog and Malkauns created by vocalist Chinmoy Lahiri, which despite the name, contains no trace of Nand – as explained by his son Shyamal Lahiri: “Baba performed this raga at the All Bengal Music Conference…and Allauddin Khan Saheb wanted to know that from where it derived. My father said that during a tour with Suresh Chakraborty, a person named Nandababu was with them – a learned person and an enthusiast. They daily discussed about the use of twin-Ga in Jog…From these discussions my father found the seed of a new raga…he insisted that, as Nandbabu was the first to open the thread, the raga was named after him, hence ‘Nandkosh’…”). Shuddha ma, as the natural meeting point between both parent ragas, assumes the most prominence (sometimes hinting at a ma-murchana of SRgmPnNS) – along with frequent use of a highly expressive n\P glide. Remains somewhat rare, although renditions by Parveen Sultana and Amjad Ali Khan have gained renown – also see performances by UK artists Dharambir Singh and Nina Burmi (singing an original Chinmoy Lahiri bandish slanted towards Jogkauns: itself a blend of Jog and an older ‘shuddha Ni Malkauns’ offshoot). Prakriti with the Carnatic-imported Vardhini – and forms one of Chandranandan’s four foundations (along with Malkauns, Chandrakauns, & Kaunsi Kanada). Also see my article What does ‘Kauns’ mean? A brief survey of all known Kaunsi ragas.

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Aroha: SGmdnS

Avroh: Sndm, GmgS

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Chalan: e.g. S(n)dn; nS; Sng; gS; SGGm; Gm(ndn)dnd; mPGm; SGmP; Gm(S)gS; Sdn; nS; Sng; gS (Parrikar)

—Amjad Ali Khan (1970)—

(hear me play this gat on guitar!)

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[refrains, e.g. 0:01] SGmdPm g(m)SS, SSSn\d nnSG m; SGmn\d, mn\dd d/nn\d, mPmGmPG, SgSnS SGmdPm g(m)SS, SSSn\d nnSG m…

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• Guitaragas •

My attempts to capture the raga on electric guitar (see more on my Insta)

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—Nandkauns on electric guitar (gat)—

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Covering the rapid Amjad Ali Khan gat above…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Vardhini

See other shadav ragas which omit Re – and compare to the rest of the Kauns raganga

–Swara Geometries–

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• Core form: S–gG–m–P–d–n–S

• Reverse: SRGmPdDS

• Complement: SrRMDNS

• Imperfect: 2 (Ga, Pa)

• Detached: 1 (Ga)

• Symmetries: none

• Murchanas: Chanchalas Malhar (on ma)

–Global Translations–

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• Carnatic: ~Ragavardhini (mela #32)

S-G₂-G₃-M₁-P-D₁-N₂-S

• Jazz: Aeolian (no 2nd, dbl. 3rd)

1-b3-3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-3-4-5-7-8-10-0

(3–1–1–2–1–2–2)

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o • • o o o • o o • o • o

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• Tanpura: Sa–ma

• Names: Nandkauns, Nandakaus, Nand Kaunsi

• Transliterations: Hindi (नंदकौंस)

—Parveen Sultana (1970s)—