S-g-m-D-n-S

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There are at least two ragas in modern circulation which go by the title ‘Sundarkauns’, which appear to share no connection other than their name. One version, taking the swaras SgmDnS (‘Malkauns shuddha Dha’), is described by Tanarang as having been unjustly sidelined by previous generations, who have tended to misinterpret it as a ‘Bageshri-ang Chandrakauns’ (“a misnomer, as this raga has neither a shuddha Ni like Chandrakauns nor an avroh like Bageshri”: n.b. see Audav Bageshri and Purana Chandrakauns for these examples of the SgmDnS scale form). The Gwalior vocalist described his revival of this intriguing audav form as “straightforward and can be expanded freely in all three octaves”. A second, better-known version of Sundarkauns takes swaras SGmPdnS (resembling ‘Charukeshi no Re‘: prakriti with Gangeshwari) – as recorded by Sadhana Shiledar and Abhirang, who lists an avroh of Sdndm, mPGmS and highlights the m-d-S minor triad with nyas. Compare to Harikauns (the same scale with tivra Ma instead), as well as other Tanarang-related ragas including Hemshri, Saraswati Kedar, and Jogeshwari Pancham.

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राग सुन्दरकौन्स

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—Abhirang (2020)—

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[bandish, e.g. 3:23] S, (n)dnS, Sg, gm, m(ndn) dmP, (P)Gm, Gm\S…

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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

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

Also compare to other ragas matching the generic swaras ‘Sa-Ga-Ma-Dha-Ni‘: including Malkauns (S-g-m-d-n-S); Chandrakauns (S-g-m-d-N-S); Rajeshwari (S-g-m-D-N-S); Tivrakauns (S-g-M-d-n-S); Harikauns (S-g-M-D-n-S); Bhinna Shadja, Kaushik Dhwani (S-G-m-D-N-S); Hindol (S-G-M-D-N-S); Tulsikauns (S-g-m-d-nN-S); Madhuradhwani (S-G-m-D-nN-S); Amrut Ranjani (S-gG-m-dD-n-S); Jogeshwari (S-gG-m-D-n-S); Madhurkauns, Mohankauns (S-gG-m-d-n-S); & Ek Prakar ki Kauns (S-gG-m-d-nN-S).

–Swara Geometries–

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• Core form: S–g–m–D–n–S

• Reverse: SRgPDS (=Shivranjani)

• Negative: 2-1-2-2-1-1-3 (e.g. Puriya Kalyan)

• Imperfect: 2 (Sa, Dha)

• Detached: 1 (Dha)

• Symmetries: none

• Murchanas: Firozkhani Todi (on dha)

–Global Translations–

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• Carnatic: ~Shivashakti

S-G₂-M₁-D₂-N₂-S

• Jazz: Dorian (no 2nd/5th)

1-b3-4-6-b7-8

• Pitch classes (‘fret-jumps’):

0-3-5-9-10-0

(3–2–4–1–2)

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o • • o • o • • • o o • o

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• Tanpura: Sa–ma

• Names: Sundarkauns, Sundarkausi, Sunderkauns (n.b. despite being prakriti, ‘Audav Bageshri‘ & ‘Purana Chandrakauns‘ are distinct from Sundarkauns)

• Transliterations: Hindi (सुन्दरकौन्स)

—Sadhana Shiledar (2020)—